ARMELLE DE LAINSECQ - THE PORTRAITIST

Things in life are curious indeed. From age six to ten, I spent those years living in a mansion, the Jorge Family mansion, at Beco do Lilau No.5. 

Quite often I came down to the Largo do Lilau (the Lilau Square) to play.

What I didn’t know is that, decades later, Jacques Le Nantec (artist pseudonym) and his wife, Armelle de Lainsecq, would settle at Rua do Lilau. Call it a coincidence, if you will.

I met Jacques Le Nantec about 30 years ago, in one of his wonderful realistic sculptures exhibitions.

Coming back to the 21st. century, I recall viewing in Facebook the works of a French lady and then going to two of her exhibitions, separated in time, the first one of photographic works that showed a superb quality, works in photoshop that showed a very ironic and therefore intelligent observation spirit. I met Armelle there, as I so called her, along with my well known friend Jacques Le Nantec.

The second time I saw more photographic work of paintings where the artist changed the personae in the paintings in a very intelligent way. There were also superb portraits in pencil, and some of the portrayed people also attended.

Armelle de Lainsecq is her maiden name, and I could see behind her sometimes tinted glasses, that her eyes are inquisitive, analytical, humoristic and there is also a flash of sarcasm.

I could not help but purchase one of her photographs. They are superb pieces of work.

Drawing phase 1

Drawing phase 2

But what hit me most is the constant appearance in her Facebook page of more and more portraits in graphite or in coloured pencils. They became excellent art pieces, every time better and better. In a world where sometimes the lack of talent is hidden or masked under expression forms commonly known by what I would call other means, I could see that her technique became better and better and also that her portrayal is excellent. Later she was kind enough to allow me to visit her atelier, at Rua do Lilau where we had an excellent conversation about a year ago.

Therefore, as I appreciate talents such as hers I commissioned Armelle a portrait, the one that is shown here in different phases. For this reason, and because I do not like to practice historical mistakes, I can now possess a wonderful portrait that is hyper realistic and done with such a mastery in detail, originated by rigorous and painful observation.

I truly don’t understand what is happening with the so called learned communities of Macau that prefer to order a copy of something in Zhuhai rather than a portrait by such an accomplished artist that reminds me, somehow, of Eduardo Luís, who happened to live in France.

Armelle, you told me once that you had for a long time the profession of being the artist’s wife. How was it then?

I am more of a sculptor’s wife than a simple artist’s wife. There is a huge difference between the work of a painter and the work of a sculptor. When a painter has finished his canvas, he just has to get it framed and then try to sell it. It is not the same for a sculptor. As soon as the creative part is finished, meaning the modelling in clay, a long series of hassles starts, requiring a lot of different processes and skills before the sculpture reaches the collector or the art gallery: moulding, retouching, remoulding, casting in bronze or other materials, chiselling patina, packaging and so on. During decades I have worked closely with my husband, being of course his first critic, teaching the fabrication to workers, organising expos or Salons and the logistics, dealing with galleries, and advertising (art books, website). I am still an artist’s wife today: this month of November, my husband is in Paris for an expo in Place des Vosges. In August I was there to confirm with the gallery and last month I had my part to do, like preparing pictures for the catalogue, prices lists and the logistics.

drawing phase 3

drawing phase 4

And now that you have attained your autonomy? Do you think that being an artist wife helped?

Yes and no! Of course I have the “eye” and the experience of the Art Market. What I do on an extensive manner for 3 years comes from personal motivation. Besides sculptures, my husband has made a lot of portraits and drawings but with different techniques that don’t apply to graphite or colour pencils. Also, our subjects are not the same.

When did you “discover” your inclination for le dessin (drawing)? Did it lay asleep for long?

My husband – again him – pushed me to draw when I met him as he thought I was gifted enough and also eccentric. I was 17. After a few months of a real Artist Life, I mean the one of the legends where the artist is living from “love and fresh water”, the bankers and bailiff started knocking at our door putting an end to the romantic artist life. We started to seriously work and I put my drawings on the side. When my youngest son reached the age of 12 I also found more time to think about myself and I started to make photos focusing on special themes: documentaries and photomontages, mainly of Macau. I published 3 books. I could have published more books as I had a lot of ideas but there is a lack of distribution in Macau. Around 2015 I wanted to take a break from computers and Photoshop, and I decided to start drawing again.

drawing phase 5

drawing phase 6

How did you develop your technique? Are you self taught? Did you ever study art?

I started sketching my cats as living models and was soon bored of drawing them. I had to draw very fast because a cat is always moving even asleep. I made hundreds of quick sketches and learnt a lot. I wanted to diversify with portraits as I am a physionomist and inquisitive about personality and character. I picked up some points of technique online, then continued my path alone. I consider myself 100% self-taught and proud to be. I never studied Art in school. Being an autodidact brings me a certain freedom as I am always unconscious of the technical issues I’ll encounter before starting a new project.

The series of Déchronologies, would you care to explain what they are? How do you define creativity?

The Déchronologies, as I call them (it’s not in the dictionary!), are humoristic-realistic portraits. But not only! They are portraits of somebody, famous or not, that I imagine in the past or future. For example, I look at the painting of French King Louis XIV and draw him as I envisage he would look today without wig and dressed in an Armani jacket and tie. Or Mozart in the skin of David Ghetta. Or you, Dear António, wearing the costume and hat of Vasco de Gama. This exercise takes a lot of time in research of documentation and concept.

There is not one definition of creativity. Every artist has their own. For me it’s simple: I have my special hashtag on instagram: #ifidontdrawiamdead, explicit isn’t it? More seriously, I wake up almost everyday with a new idea. I get nervous thinking about all these ideas that come to my mind all at once, especially in the shower!

Everything around me has a potential interest for either drawings or photomontages.

Some of my other drawings enter the realm of fantasy, using themes and subjects that captivate me with a twist of enigmatic realism.

And anyone trying to distract me from my elucubrations is in big danger!

drawing phase 7

drawing phase 8

How do you view the art scene in Macau?

Since I am active on social networks, I have discovered many artists in Macau.

Their creations are good and pleasant to see.

Sometimes I am informed there is an expo somewhere. It’s always organised by official instances, like by the Cultural Institute or Foundations or Associations. There is an opening where everybody knows everybody and after the opening, who comes?

The public, that one who is not cordially invited to cultural events, has no place to go to see works of art all year round, having time to look, to dream and to take the decision to buy an art piece. There is a cruel lack of Art galleries in Macau. It’s a pity because Macau is not only a factice city of casinos. Macau has an amazing past, a unique and attractive History. The Lilau, a golden triangle of tourism between Barra and Casa do Mandarim, should be such a peaceful environment to gather 5 or 6 Art galleries. This area should become a kind of Montmartre of Macau! But it needs private art lover investors or patrons of the art having vision, imagination, ideas about the art market in our tiny SAR. When I am in my studio, I meet a lot of people, locals and tourists. All are pleased to discover a place devoted to art. They don’t feel intimidated, as they dare to push the door. They come back. They are potential collectors happy to understand they can afford pieces of art at an honest value.

There is a discreet and solemn art scene in Macau showing ephemeral solo or group exhibitions. I find it has either a charity-fashion-look or an artistically-correct-aroma (like the yellow shit on Nam Van Lake). I never heard something like Macau-City-of-Arts. It could be, but probably not lucrative enough.

Anyways, the most realistic artistic scene today for an artist is the Internet!

finished drawing 9

Finally, what drives you to live in Macau and specifically at Lilau?

We have been in Macau from 1983 to 1992 and 2001 till now for professional reasons and by chance. We have always been in the Penha Hill area. We bought some properties in Rua do Lilau when it was still affordable. I like this area. It’s quiet and still authentic with very few foreigners. It’s a village.

I have asked some Portuguese to tell me the meaning of “Lilau” and no one knew the answer. I count on you, António, to tell me. In Chinese it’s Ngaa Po Zeng Gaai”, the old lady’s well street. Perhaps on day “Gwai Po Zeng Gaai” because it is MY street and I’ll always be a gwai-po! Oh, I’ll make a special photomontage to change the name of my street!