{"id":45916,"date":"2026-04-28T08:30:57","date_gmt":"2026-04-28T06:30:57","guid":{"rendered":"https:\/\/sceaux-lagazette.fr\/?p=45916"},"modified":"2026-04-26T18:02:12","modified_gmt":"2026-04-26T16:02:12","slug":"helene-krief-entre-peinture-et-sculpture","status":"publish","type":"post","link":"https:\/\/sceaux-lagazette.fr\/index.php\/2026\/04\/28\/helene-krief-entre-peinture-et-sculpture\/","title":{"rendered":"H\u00e9l\u00e8ne Krief entre peinture et sculpture"},"content":{"rendered":"\n

Elle travaille la terre, le m\u00e9tal, le bois et la pierre. Elle peint sur papier, toile ou carton. Les deux disciplines rel\u00e8vent chez elle de deux gestes diff\u00e9rents. \u00ab En sculpture, je sais o\u00f9 je vais. En peinture, je peins depuis toujours, mais la part du doute est plus importante. \u00bb<\/em> Quand H\u00e9l\u00e8ne Krief parle de ses influences, elle invite \u00e0 d\u00e9couvrir des pages d\u2019histoire de l\u2019art, \u00e0 les prendre en partage.<\/p>\n\n\n\n

La peinture l\u2019a toujours accompagn\u00e9e, de la Tunisie, au S\u00e9n\u00e9gal ou au Canada. Quand la famille rentre en France, elle rencontre par hasard Jo\u00eblle Lionne, sculpteure qui a marqu\u00e9 un petit groupe de fid\u00e8les. Une passion na\u00eet. C\u2019est ainsi qu\u2019elle s\u2019initie \u00e0 la sculpture, elle ne la quittera plus.<\/p>\n\n\n\n

Ses premiers pas vont vers le travail du bois. Les temp\u00eates de 1999 ont abattu quantit\u00e9 d\u2019arbres. L\u2019atelier en tire parti. Elle travaille des planches \u00e9paisses, non d\u00e9grossies, y inscrit des formes \u00e9pur\u00e9es\u2026 Elle pense \u00e0 Matisse. Elle cherche dans ces formes un \u00e9quilibre, une coh\u00e9rence avec le mat\u00e9riau.<\/p>\n\n\n\n

Des rencontres<\/h2>\n\n\n\n

Plus tard, H\u00e9l\u00e8ne Krief suit les cours de Laurent Okroglic, professeur de dessin aux Ateliers Beaux-Arts de la ville de Paris. Son regard se forme. Elle y apprend le dessin d\u2019apr\u00e8s mod\u00e8le vivant. Laurent Okroglic l\u2019encourage \u00e0 s\u2019affranchir de la figuration. Il a compris qu\u2019elle s\u2019y ennuie. Elle trouve dans des d\u00e9coupages, collages, pliages, papiers et cartons une autre aventure, proches du \u00ab cadavre exquis \u00bb. En d\u00e9ployant ses pliages, on y d\u00e9couvre un inattendu, qu\u2019elle recompose.<\/p>\n\n\n

\n
\"\"
H\u00e9l\u00e8ne Krief Photo H. Krief<\/figcaption><\/figure><\/div>\n\n\n

Une autre rencontre importante est celle d\u2019Olivier di Pizio, directeur de R\u00e9alit\u00e9s nouvelles<\/em> et enseignant aux Ateliers Beaux-Arts de la Ville de Paris qui la sensibilise \u00e0 l\u2019art contemporain et l\u2019ouvre \u00e0 un questionnement nouveau.<\/em><\/p>\n\n\n\n

De ses multiples inspirations, elle cite les Fauves, Odilon Redon, et m\u00eame (incroyable !) Gustave Moreau. Pour elle, \u00ab l\u2019essentiel, c\u2019est la couleur<\/em> \u00bb. Matisse encore, qui s\u2019impose \u00e0 elle quand elle arrange, combine ses \u00ab Formes femmes \u00bb,<\/em> patterns<\/em><\/a> \u00e9pur\u00e9s, conjugu\u00e9s sur la toile.<\/p>\n\n\n\n

Dans son cheminement artistique, la sculpture est toujours pr\u00e9sente. Une pi\u00e8ce en appelle une autre. Il y a plusieurs ann\u00e9es, elle \u00e9tait \u00ab dans une g\u00e9om\u00e9trisation des volumes \u00bb.<\/em> Ses formes \u00e9taient lisses, polies. Elle cherchait dans l\u2019argile des formes simples, un \u00e9quilibre qui trouvait ses sources chez Constantin Brancusi ou Eduardo Chillida, \u00ab ces grands du XXe si\u00e8cle<\/em> \u00bb.<\/p>\n\n\n\n

Elle avait en t\u00eate les lacs gel\u00e9s du Qu\u00e9bec, quand la glace se rompt brusquement, se soul\u00e8ve dans un bruit assourdissant. Sa s\u00e9rie \u00ab D\u00e9b\u00e2cles \u00bb <\/em>se rem\u00e9more <\/em>l\u2019\u00e9motion ressentie lors de ces insubordinations de l\u2019eau.<\/p>\n\n\n\n

L\u2019esquisse lib\u00e9ratrice<\/h2>\n\n\n\n

Ces temps-ci, elle revient \u00e0 la terre. \u00ab J\u2019aime la terre<\/em>. Tailler la pierre, devient trop \u00e9prouvant sourit-elle. \u00bb <\/em>Le modelage de ses \u00ab Poup\u00e9es votives \u00bb,<\/em> lui permet de s\u2019affranchir d\u2019une certaine rigueur premi\u00e8re, ses rep\u00e8res ont chang\u00e9. Elle les trouve dans les Figures<\/em> de Laurent Esquerr\u00e9, de Germaine Richier ou encore dans les arts premiers, dans lesquels elle puise \u00ab un autre imaginaire<\/em> \u00bb,<\/p>\n\n\n

\n
\"\"
Photo H. Krief<\/figcaption><\/figure><\/div>\n\n\n

Ces artistes mettent en \u00e9vidence ce qu\u2019elle appelle \u00ab la maladresse<\/em> \u00bb. Elle fait r\u00e9sonner dans le mot une intention libertaire. Ce qui est en jeu pour elle est \u00ab l\u2019authenticit\u00e9 du brut \u00bb.<\/em> En ne cherchant plus le \u00ab fini<\/em> \u00bb, elle a le sentiment de pouvoir explorer des voies nouvelles. Cette esth\u00e9tique est pr\u00e9sente \u00e0 chaque instant, \u00ab il faut que \u00e7a tienne<\/em> \u00bb, sinon, c\u2019est mou, informe. La maladresse est une d\u00e9marche, ce n\u2019est pas un laisser-aller.<\/p>\n\n\n\n

Cette expressivit\u00e9, ce qu\u2019elle appelle son c\u00f4t\u00e9 baroque, fera que les personnages auront des fantaisies au-dessus de leur t\u00eate, des chapeaux farfelus de carnaval ou de bal masqu\u00e9, des oiseaux, des feuilles.<\/p>\n\n\n\n

\u00ab Quand j\u2019ai commenc\u00e9 la sculpture, j\u2019\u00e9tais na\u00efve<\/em> \u00bb, c\u2019est-\u00e0-dire ignorante de ce que la sculpture supposait comme travail. Entour\u00e9e des tableaux que son p\u00e8re, grand amateur, achetait sur un coup de t\u00eate\u2026 avant de les revendre par manque d\u2019argent. Il en ach\u00e8te tant que tous les murs de l\u2019appartement sont couverts. Elle en fut nourrie et grandit entour\u00e9e de ces toiles. Au fil des d\u00e9penses erratiques du p\u00e8re, les tableaux vendus disparaissent et laissent leurs traces sur les murs. Cela l\u2019a marqu\u00e9e. \u00ab C\u2019est, <\/em>pense-t-elle, pour remplir ces vides que je me suis mise \u00e0 peindre<\/em>. \u00bb Peindre devient comme une r\u00e9paration de disparitions.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Elle travaille la terre, le m\u00e9tal, le bois et la pierre. Elle peint sur papier, toile ou carton. Les deux disciplines rel\u00e8vent chez elle de deux gestes diff\u00e9rents. \u00ab En sculpture, je sais o\u00f9 je vais. En peinture, je peins depuis toujours, mais la part du doute est plus importante. \u00bb Quand…<\/p>\n","protected":false},"author":6,"featured_media":45921,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[59,266],"tags":[],"class_list":["post-45916","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-portraits","category-sceaux","entry","simple"],"yoast_head":"\nH\u00e9l\u00e8ne Krief entre peinture et sculpture - La Gazette<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sceaux-lagazette.fr\/index.php\/2026\/04\/28\/helene-krief-entre-peinture-et-sculpture\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"H\u00e9l\u00e8ne Krief entre peinture et sculpture - La Gazette\" \/>\n<meta property=\"og:description\" content=\"Elle travaille la terre, le m\u00e9tal, le bois et la pierre. 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