#Amélie Vidgrain

[linventaireartotheque]

Le bois gravé Architopia II  d’ Amélie Vidgrain trône au dessus du canapé de mr et mme M.

Site de l’artiste 

[griffes]

Amélie Vidgrain nous le murmure : l’été n’est pas fini... ouf !

[linventaire-a-l-ecole]

A gauche : Villa 2 peinture à l’huile de Freddy Pannecoke

A droite : Mangrove, 2 bois gravés d’Amélie Vidgrain

Au Lycée Depoorter de Hazebrouck

Site internet de Freddy Pannecocke

Site internet d’Amélie Vidgrain

[dustedmagazine]

Bruno Duplant — Chamber and Field Works (2015-2017) (Another Timbre)

Drawing by Amélie Vidgrain Duplant

In the mid to late 20th century, composers got taken to task for the power dynamics inherent in telling other people what to do and then taking credit for it. Bruno Duplant offers another view. An autodidact, he approaches music making and music makers with deep humility and an ingratiating sense of play. The music on this double CD arose from a priori positive experiences that the Frenchman had composing music for guitarists. He decided to give a solo piece to his favorite guitarist, Tokyo-based Taku Sugimoto, and in a gesture of pith and wit, the letter pitching his piece was also the score. Sugimoto not only accepted the challenge, he challenged Duplant in turn to give some pieces to the Suidobashi Chamber Ensemble.  

On disc one, the Ensemble interprets three of Duplant’s compositions. The album’s annotation, which is mostly situated on line, provides few clues about the form or intent of Duplant’s pieces beyond this quote from “Where our Dreams get Lost” — “like instrumental waves / with some melancholic tones.” Each is centered on repeated, arcing tones that become surfaces that are either complemented or disrupted by other, similarly simple elements. You’ll find no ostentatious displays of virtuosity here; rather, the musicians distinguish themselves by their restraint and attunement.  It’s easy to lose yourself in the gradual attenuations of a slowly bowed string’s vibrations or a singer’s nearly subliminal coos, and paradoxically bracing when a quietly blown woodwind proposes a tentative harmony. It’s hard to say how much of this music is Duplant’s idea and how much comes from Suidobashi Chamber Ensemble’s use of his scores as instigations to tune into each other, and its ultimately more rewarding to lean into the sounds than it is to wonder exactly how they came into being.

Sugimoto is the sole musician on “lEttEr to tAku (field music for guitar),” but he certainly doesn’t have the piece, which lasts just shy of 45 minutes, to himself. Recorded in Tokyo’s Hanegi Park, the guitarist’s performance is a recurrent center to a pageant of organic and mechanical sounds. Since this is a well-kept urban park, at one point one hears a chainsaw and at others fragments of passing conversations. Cicadas rustle and trains clatter in the distance while birds peep and dogs bark. Sugimoto plays a sequence of harmonics and bowed notes, letting most decay before he sounds another. He seems to be respecting the sonic environment, adding most by adding just a little.

Bill Meyer

[linventaire-au-travail]

L'oeuvre Etude pour Casarbol de Clothilde Staës, l’eau forte Herbier de Matild Gros et les 3 gravures sans titre d’Amélie Vidgrain à la Caisse d’épargne.

Site internet de Clothilde Staës

Site internet de Matild Gros

[linventaireartotheque]

Le bois gravé Mangrove d’Amélie Vidgrain chez G.

Site internet de l’artiste.

[linventaireartotheque]

Le bois gravé Architopia I d’Amélie Vidgrain chez BE.

[linventaireartotheque]

Le bois gravé Architopia I d’Amélie Vidgrain chez la famille N.

Site internet de l’artiste

[linventaireartotheque]

Le bois gravé Mangrove de Amélie Vidgrain chez Mr. B.

Site internet de l’artiste

[linventaireartotheque]

L’oeuvre Chateau de l’âme (eau forte) d’Amélie Vidgrain chez P.

Site internet de l’artiste

[linventaireartotheque]

L’œuvre Stellation (techniques mixtes) d’Amélie Vidgrain et Myriam Hequet chez L.

Site internet de Myriam Hequet