At the beginning of this year, I saw the stunning art pieces of Christian de Laubadère. His eventual and continuing source of inspiration became the neck line and nape of women, a sensual place and the link between the head and the body, mostly hidden. I was deeply fascinated by a piece of work in NECKS collection, which indicated a traditional black kimono with foil bronzing, flocking and embroidery, to some of my wild imagination, I would like to have a tattoo of that painting this year.
From either a simple loose braid to a sophisticated hairdo pinned with pearls, thin bamboo pieces or silk ribbon, he chooses to give the nape a personality which combined Western and Asian. He seems more alike a fashion designer and hair stylist to me when he adorns the paintings with embroidered silk fabric, lace, oriental fabrics, Indian cotton, painted Chinese fans, or his own delicate patterns patiently stylized on the back and shoulders.
There are a lot of antiquities in his studio which will arise the literati complex from the depth of heart. He paints on paper and canvas using lead pencils, smoke and charcoal as well as printed and embroidered fabric selected from China and France. Sometimes the model sits on a chair, he first draws the head and hair styling, and then tries different fabrics on the neck of the model. However, there is no model at presence for the most of time .
Christian de Laubadère’s signature in Chinese characters is “Lu” (foot of the mountain) and “Mi” (power) . The name is literally translated from a nickname of his childhood “Loumi” which means “my favourite one” in the French dialect from Gascogne province. He has been lived and worked in Shanghai since 2003,
The Chinese style classical decoration technique has been widely practiced in the artist’s heart, which we could reflect upon the cultural reintegration between the east and the west that is no longer in the destiny of Orientalism. Thus, by no means fortuitous we are happened to be in the central of the greatest glory of Post Orientalism.
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