Sans titre, 1989

Lydie Arickx  

After studying (1974-1978) at the Penninghen Higher School of Graphic Arts (ESAG), presented by Roland Topor, she obtained her first solo exhibition in 1979 at the Jean Briance gallery (pastels and oils). From the beginning of the 1980s, she participated in international events such as the Basel Fair (Art Basel), FIAC or Art Paris. In 1988 she presented her work in Belgium, Switzerland, Germany, the Netherlands, then Spain and the United States (first exhibition presented by Amaury Taittinger in New York alongside Francis Bacon). In 1991, Lydie Arickx moved to the Landes where she worked on large formats and tackled monumental sculpture. From 1993, she produced a series of monumental frescoes for various sites in France. In 1998, with Alex Bianchi, she created the Rencontres du Cadran, which for five consecutive years hosted more than 80 international and emerging artists. In 1999, for the 800th anniversary of the Jurade of Saint-Émilion, Lydie Arickx presented a double personal exhibition in the cloister and in the monolithic church on the theme of the crucifixion. Lydie Arickx regularly organizes cultural events on major national stages (Art Senate 2001…) featuring contemporary art and live performance (creativity courses for schools, businesses, hospitals, cultural events, exhibitions…). Lydie Arickx appear in the major national public collections (Musée national d'art moderne Georges-Pompidou, Palais de Tokyo, FNAC, etc.) and in the public space (Paul-Brousse hospital in Villejuif, intercommunal hospital center of Créteil, IUFM de Mont-de-Marsan, MACS Saint-Vincent-de-Tyrosse, fresco commemorating the centenary of the arenas of Dax in 2013…) [ref. necessary]. Finally, in her studio, still considered a place of experimentation, Lydie Arickx researches and adapts new supports and materials for her creations (specific concrete, Emery fabrics, wood, fabrics, bitumen and resins and fibers, etc.). In 2014, Lydie Arickx published her first manuscript, We live. In 2015, she took over the city of Roubaix with three major exhibitions in tribute to her family roots and a live performance over 200 meters long and 3 meters high. The following year, nourished by her experience in Roubaix, she took over the entire large hall of the Gens d'Armes at the Conciergerie in Paris, invited by the Center des monuments nationaux to perform a live performance over 100 linear meters, as well as than an exhibition and installation at the Expiatory Chapel. The orientation of a monumental painting, executed live, seems to mark an important turning point in the artist's career who invariably associates exhibition and performance in public as a necessity, linking art in sharing and the understanding of an act. essential creative.