Bureau Marie Jacquier defends the work of young artists, experts in their art, though not connected to a gallery.
We help and support them. We are delighted to present our artist, Camille Cottier.

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CAMILLE COTTIER

Painter

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Born in Paris in 1990, she graduated from the Fine Arts school in Angers in 2003. She lives and works in Paris.

The ‘bonshommes’ (little men) project started out as an instinctive work and has become something of an obsession.  They are not here to speak of a particular event, but rather an accumulation of emotions, anxieties and fears as well as peace and hope.  They can bear witness to a contemporary society, but also seem to carry the weight of a loaded past. They are my way of letting off steam. They proliferate, they are superposed, they accumulate, yet they are not concerned with each other. They don’t look at each other, they talk to us. They question us. Who are we, what are we doing? We are in some way the spectators of our audience.  The face-on position of the figures emphasises this duality between the picture and the spectator. Their faces could be those of a man or a woman. And they seem ageless. Neither childlike nor old, they seem to know the past as well as they know the future. The lack of hair on head or body emphasises the question of identity.  Smooth, similar, yet not identical.

“The figures are together, in a group, they represent a mass, a community. Yet there is one thing I can’t find out, which is whether they are an individualistic community, hidebound and worried, or on the contrary a kind of very close-knit family, calm and serene. I wonder if these observations might not be more of a question on how we function, on our lifestyle,” says Camille of her work.

The sensation of mass is represented by the accumulation, the superposing of figures. “They’re one on top of the other.” And that is when the motif aspect appears. The figures are repeated ad infinitum. They repeat themselves until they are saturated, until they define the format. Nothing is decided in advance. By repeating itself, the figure becomes the motif. It has the power of a chameleon: it melts and dissolves into its own world, until it almost disappears in some places. Sometimes you can hardly see it, yet it is there. It’s a motif sometimes hiding yet always staring at us.

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