Teklienglim.com

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STATEMENT

My art is a way of seeing and understanding the human body in space. I resituate a unique energy signature left in my mind by my perception of the anatomic figure in motion through spontaneous live sketches.

I am looking for the immaterial, for the short-lived, to completed a mouvement in a few seconds. Of this magic moment when my hands are outside control and in some lines, leave the image of a felt energy. I never retouch my sketches, because the moment has passed, and I kept the emotion.

My practice tries to understand the importance of every tool and the interest of its use at the convenient moment, to observe the interaction of the materials between them, and the tool becomes then the continuation of the thought and the soul. The thought follows the movement; the body follows the thought.


Inspired by my travels (France, Belgium, Morocco, Mali, Canada, America, Mexico), and synchronous exchanges, I explore the emotional connections linking the circus performers, musicians and my point of view.

 

 

BIOGRAPHY

Born in 1983 in France Seclin, Teklieng has from an early age was fascinated by drawing in its most diverse forms. Over the years, his interest in pictorial work has increased and clarified, including the forms of anatomical representation of the human body and portraits.

« Based on the stroke of a pen, my artistic research led me to try other media and techniques vary: charcoal, acrylic, watercolor, oil painting, printmaking techniques, drypoint and aquatint, woodworking, cabinet making, marquetry, carving, modeling, land, plasticine, casting, plaster, resin, the elastomer.

Many disciplines to explore patiently to understand the importance of each tool and the value of its use in a timely manner, observe the interaction of these materials, and the tool becomes an extension of thought and the Soul. Thought follows the movement, the body follows the mind.

 

My studies in Belgium have been the opportunity to discover the world of wood, which I was totally alien previously. During the open days of the St Luc Institute in Tournai in 2008, I set foot for the first time in cabinet shops and sculpture. My first impression did not leave me: the smell of wood which intoxicates me, as her beauty, which has transcended time and that have shaped the hands of masters. I also wanted to do something new with my hands, and shape into perspective for me was an essential discovery. The attraction of inlaid furniture, carved wood, plaster work, tools that cross generations and time ... A world that fascinates me. So I joined the St. Luke Institute and spent two years experience as a furniture maker furniture through two studies: one jam in solid oak (first year) and a rag New Art from a work of Louis Majorelle, for which I received the first prize in woodworking.

Then I turned to sculpture, a course directed by Patrice Degand. The capit ', as it is called to St Luke, made his pupils in boarding his ship for a memorable year and safely transports. A year full of learning, where I learned to "get my black" (to appear black from the shadows to seek relief and depth) through the trappings of French style: acanthus leaves, scrolls, shells and palmettes way Versailles. I have confirmed my curiosity about this world, integrated preliminary drawing stage, expanded my inspiration, and made a Chinese dragon filigree, study preparatory to finishing, passing through the flow of raw wood and direct cutting and machining (technique of direct carving wood with drawings, bypassing the modeling stage)

 

And it was through my studies in Tournai that I was seduced by "the drawing live." This is my way regularly in concerts and jams it appeared to me as an obvious draw musicians in performance. I always want to draw intact, and the dynamics that emerged concerts, the ambiance, friends, music and beer (Belgian!) Formed an emulation supports the establishment. I was going to draw more musicians, the more I realized that what matters is the gesture and not the details: the body in motion is enough. Some features to define a silhouette, a few lines to express the gesture. But how to express movement and thereby recreate a sound? I like a challenge though! By drawing several times the same musician, first it is discovered, then we know better, and without foreseeing it, it is not surprising provided that: we understand and we accompany her. I go into their circle, I become an accomplice, there as a creative force that unites us. A rhythm is speaking notes, returning movements or surprise, for me to grasp. The emotion hits me, it's that magic moment when my hands are out of control and in a few lines, leave the image of a power felt. I never touch these sketches, because time is past, but I kept the emotion.

 

Later, in Paris, I did the meeting with the company of seven fingers during a performance of their show "PSY". I wanted to again meet the challenge of designing the future movement of these athletes during their circus training and during their show. A crazy challenge because the movement is worse than in concert, lively, and almost incessant elusive! A challenge that requires a perfect mastery of the pencil and anatomy, a great capacity for observation and analysis and an emotional memory fixing the furtive movement. The circus, with all disciplines that are practiced there, the juggling, balance, trapeze, swinging trapeze, rope, board, provides lots of discipline to tame! It took me several sessions to understand the body in all its entirety, the reaction of the muscles under exercise mobilizes them, and how the body moves in space. Indeed, it is drawing more musicians on stage, there is only a fraction of a second to remember the most beautiful moment of a triple flip spin, taking into account the composition, proportion, attitude, space, movement in the snapshot. A search of the intangible, the ephemeral, a perfect gesture in seconds. I found a very strong emotion, born of the perception of the strength of the pencil that draws me to the paper, and always this spontaneous and almost independent, with a few strokes to capture the movement. »

My influences

Self-taught in drawing, my influences are a mixture of curiosity for my masters study or just observed, my technical learnings and my artistic encounters.

- MANGAKAS Hayao Miyazaki, Akira Toriyama, Katsuhiro Otomo, Takehiko Inoue, Masashi Mishimoto..

- SCULPTORS Patrice Degand, Bénédicte Dubart, Damien Gillot, Richard Mac Donald..

- PAINTER Ruben Carrasco, Niko Matthieu, Carlos Generoso, Kim Jung Gi, Sakiroo, Sainer Crew, Gabriel Moreno..

- CIRCUS 7 Fingers, Circus Eloize, Independant cirus company, Pancho Libre..

- MUSICIANS Johann Berby, Aldona Nowowiejska, Trilok Gurtu, Manou Gallo, Mana Swing..

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