Visage paysage n °3, 2019

Piero della Francesca Sigismond Malatesta1421
Pisanello Portrait de Leonello d’Este 1441
Leonardo Da Vinci La belle Ferronnière  vers 1484

techniques mixtes, 37 x 28 cm ©JL Losi

Dans les champs n°7, 2019

graphite sur papier, 75 x 110 cm ©JL Losi

Paysage mental, hommage à Hokusai, 2019

techniques mixtes, 29.7 x 21 cm

Momiji, 2019

Verre soufflé, réalisée par Atelier VINCENT BREED
28×7,5x8cm, édition de 3

Dans les champs n°5, 2019
Graphite sur papier, 75 x 110 cm © JL Losi

visage paysage n°4

Hans Memling, portrait d’un jeune homme
portrait de Marguerite de Bourgogne,
Ecole Souabe, Claes Sluter, 1340-1350

techniques mixtes, 37 x 28  cm ©JL Losi

Paysage gris de Payne n°8, 2019

techniques mixtes sur papiers, 37 x 28 cm, ©JL Losi

Visage paysage n°6, 2019

Masolino, Adam (chapelle Brancacci) Florence
Pisanello, Femme, Sandro Botticelli, Le printemps techniques mixtes, 37 x 28 cm ©JL Losi

Paysage gris de Payne n°4, 2019

techniques mixtes sur papiers, 37 x 28 cm, ©JL Losi

 

Visage paysage 08, 2019

Donatello, Niccolo de Uzzano vers 1430
Pisanello Femme, Sandro Botticelli, le printemps
technique mixte sur papiers, 37 x 28 cm, © JL Losi

 

 

Dans les champs n°6, 2018

graphite sur papier, 75 x 110 cm ©JL Losi

Paysage n°10, 2018

techniques mixtes, 37 x 28 cm ©JL Losi

Autoportrait au bouton, 2018

graphite, 130 x 98 cm

Paysage mental, hommage à Philippe le bon, 2018

techniques mixtes, 29.7 x 21 cm

Dans les champs n°9, 2019
Graphite sur papier, 75 x 110 cm © JL Losi

Paysage gris de Payne n° 10, 2019

techniques mixtes sur papiers, 37 x 28 cm, ©JL loisi

Blushing blossom, 2018

techniques mixtes, 29.7 x 21 cm

collection privée

Femme au bord de la manche, 2018

techniques mixtes, 37 x 28 cm ©JL Losi

Autoportrait au chardon n°1, 2017

graphite sur papier, 110 x 75 cm, © JL Losi

Dans les champs bouton de fleurs, 2017

graphite sur papier, 103 x 72 cm, © JL Losi

Balcon, hommage à Diego Velasquez, 2015

technique mixte, 75 x 60 cm © JL Losi

Paysage n°1, 2018

techniques mixtes, 37 x 28 cm ©JL Losi

Balcon, hommage à Edouard Manet, 2015

technique mixte, 75 x 60 cm © JL Losi

N°23, 2014

Pâte de verre, 14.5 x 6 x 4 cm

© JL Losi

 

vue de l’exposition chacun son trait 2018

 

Dérive de deux jambes dans un paysage, 2014

technique mixte, 49 x 32 cm © JL Losi

collection privée

 

Sans les loups, 2013

technique mixte sur papiers, 67 x 43 cm, © JL Losi

Collection privée

 

 

x

Nationalité Française et Suisse, je vit et travaille à Paris, Lyon et dans le T.G.V., je pratique, le dessin, l’estampe, le wall-paper, les installations, la sculpture-objet et la vidéo avec Pierre Thomé .
Intéressée par ce qui surgit dans le mouvement et dans le déplacement, artiste voyageuse, je vis dans deux villes depuis les années 1990. Les déplacements en train sont pour moi des moments de rêverie, de réflexion et de création (paysages vus du TGV 1992 à 2000).
Intéressée par la condition de l’homme, sa fragilité, sa place dans notre monde, je choisis très jeune d’aller travailler au sein d’un hôpital psychiatrique dans un service d’entrée. Je tente d’aider les patients à reconstruire un fil de leur histoire dans des ateliers hebdomadaire que je mène en parallèle avec mon propre processus de recherche artistique. Je poursuis se travail passionnant durant une vingtaine d’années. Je fonctionne par relevés, par récoltes, et multiples notes: durant mes déplacements, mes voyages: notes radiophoniques, notes de mes lectures, passionnée par l’histoire de l’art, le cinéma et la danse contemporaine.

Depuis 2012 des voyages réguliers nous font circuler dans tout le Japon: notes photographiques, réalisation de vidéos, d’herbiers et de dessins.
1993 premier voyage au Japon en compagnie d’une japonaise et de quatre artistes femmes, exposition et rencontres avec l’Institut français de Tokyo interventions dans une école de Design
1976 Création de l’atelier Alma, Lyon: collectif d’artistes où l’on pratique la gravure, la lithographie, la sérigraphie la photo. Réalisation d’édition, ouverture d’une galerie au sein de l’atelier.
1976 Voyage de quatre mois en Amérique du sud: Pérou, Bolivie et Equateur
1972 Ecole des Beaux-arts de Lyon. (Atelier Gravure)

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

> Inside

Christine Crozat

Entre les mondes

16 octobre > 23 novembre 2019

 

What is tracing paper, if not a place of passage from one drawing to another, a space of transmission, which tells a small part of the story, still incomplete and fragmentary? Tracing paper is the place where the worlds mingle, the place of the sketch and the finished, the oscillating and the fixed, the day and the night: Between the worlds. This interstice is manifested in the method itself: drawing the contours, retaining only the essential and purified form. Attach yourself to the magnetism of detail. Christine Crozat, with a passion for art history, retains, locates, then explores. A flower from a Godard for a Red Portrait, a mule from The Death of Sardanapale for Queen’s bee shoe. The detail is extracted, chiselled out of its reference set to give it a new place, a new meaning. Detail as a transmission from one world to another. Then comes the “Gris de Payne” series: the Shimokita peninsula inspires Christine Crozat. The vegetal and the aquatic mingle, tall grasses and flowers are superimposed on the clouds. Arrows sometimes anchor the ethereal shapes to the ground, as if to prevent them from flying out of the frame, rounded and too light (…/…)Xavier Petit, PhD student in philosophy

 

 

 

 

 

 

 

 

x