{"id":5593,"date":"2025-12-01T15:00:09","date_gmt":"2025-12-01T14:00:09","guid":{"rendered":"https:\/\/great-artmag.com\/?p=5593"},"modified":"2026-06-14T11:51:47","modified_gmt":"2026-06-14T09:51:47","slug":"galerie-robet-dantec-rebecca-brueder-dessin-pointillisme","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/galerie-robet-dantec-rebecca-brueder-dessin-pointillisme\/","title":{"rendered":"Rebecca Brueder, un pointillisme de faille"},"content":{"rendered":"

Sept galeries nantaises s’associent pour cr\u00e9er “Le dimanche des Galeries” \u00e0 Nantes, le 7 d\u00e9cembre 2025. Parmi elles, la galerie Robet Dantec qui repr\u00e9sente Rebecca Brueder. L’artiste r\u00e9\u00e9crit la m\u00e9moire des sols, des ruines d\u2019Alep aux pierres respirantes de Roumanie. Portrait.<\/strong><\/p>\n

La pierre pour matrice<\/h3>\n

N\u00e9e en 1993, elle est dipl\u00f4m\u00e9e de l\u2019Ecole Sup\u00e9rieure des Arts des Pyr\u00e9n\u00e9es \u00e0 Tarbes (DNSEP) ainsi que de l\u2019Ecole des Beaux Arts de N\u00eemes. Install\u00e9e \u00e0 Marseille, elle construit un vocabulaire visuel qui m\u00eale observations g\u00e9ologiques, archives m\u00e9diatiques et ph\u00e9nom\u00e8nes naturels. Ses sculptures rejouent les tensions entre construction humaine et forces telluriques. La pierre devient t\u00e9moin : trace d\u2019un choc, mati\u00e8re hybride, fragment de paysage. Cette approche se prolonge dans des installations immersives comme En-dessous de Popiga\u00ef. <\/em>Elle y transpose le crat\u00e8re sib\u00e9rien en couches de terre travers\u00e9es d\u2019\u00e9clats de verre, m\u00e9taphore des impacts c\u00e9lestes et des bouleversements qu\u2019ils provoquent. Cette sensibilit\u00e9 pour les mati\u00e8res pr\u00e9pare le terrain de ses dessins. L\u2019autre versant de son travail : une attention extr\u00eame au d\u00e9tail et au temps long.<\/p>\n

\"\"A la pointe du rotring<\/h3>\n

Le dessin occupe chez Rebecca Bruder une place centrale. R\u00e9alis\u00e9 au rotring, il r\u00e9pond \u00e0 un protocole immuable. Un seul gabarit de pointe, un d\u00e9p\u00f4t de points successifs, aucun trait continu. Cette m\u00e9thode impose une immersion totale dans l\u2019image. Les volumes prennent forme par densification. Ce choix permet de traduire des ph\u00e9nom\u00e8nes instables. Nu\u00e9es ardentes, coul\u00e9es de cendres, masses de neige en mouvement… La s\u00e9rie consacr\u00e9e aux \u00e9ruptions volcaniques en t\u00e9moigne. Son protocole r\u00e9v\u00e8le aussi une dimension plus intime lorsqu\u2019elle aborde la permanence des corps en haute altitude.<\/p>\n

Ci-git le dessin<\/h3>\n

Le cadavre fig\u00e9 d\u2019un alpiniste surnomm\u00e9 “Green Boots” dessin\u00e9. L\u2019artiste raconte : \u00ab Apr\u00e8s m\u2019\u00eatre int\u00e9ress\u00e9e aux alpinistes qui gravissent le Mont Everest, j\u2019ai \u00e9t\u00e9 s\u00e9duite par ces corps qui restent pour toujours, et qu\u2019il est interdit de rapatrier.\u00bb En effet, certaines d\u00e9pouilles restent intactes, pr\u00e9serv\u00e9es par le froid gr\u00e2ce \u00e0 la paroi de roche qui leur sert de rempart contre les intemp\u00e9ries. Ici, g\u00eet le corps inconnu d\u2019un alpiniste depuis pr\u00e8s de 30 ans, certains l\u2019identifient en tant que Tswang Paljor, alpiniste n\u00e9palais, les autres l\u2019appellent Green Boots \u00e0 cause de ses chaussures de montagne vertes qu\u2019il portera \u00e9ternellement.\u00a0 Le pointillisme fait vibrer la roche et le corps d\u2019une m\u00eame texture, abolissant la fronti\u00e8re entre l\u2019humain et le relief. Le dessin devient un espace de silence, d\u00e9pouill\u00e9 de pathos, o\u00f9 la montagne absorbe tout.<\/p>\n

De la nuance avant toute chose<\/h3>\n

Le pointillisme cr\u00e9e des zones de respiration, des fragments suspendus, une temporalit\u00e9 \u00e9largie qui contraste avec la vitesse m\u00e9diatique des images sources. L\u2019artiste montre des paysages extr\u00eames sans chercher \u00e0 les dramatiser. Elle les fait exister par la nuance, par la densit\u00e9, et par l\u2019effort patient du geste. Le spectateur doit se rapprocher pour saisir la mati\u00e8re, puis s\u2019\u00e9loigner pour comprendre la composition. Cette alternance cr\u00e9e un mouvement comparable \u00e0 une ascension : approche, recul, reprise. Brueder ne raconte pas simplement les ph\u00e9nom\u00e8nes naturels ; elle propose une mani\u00e8re de les regarder. Ses dessins, comme ses sculptures, interrogent la fa\u00e7on dont les catastrophes, les m\u00e9tamorphoses et les chocs fa\u00e7onnent le monde. Ils donnent forme \u00e0 une m\u00e9moire g\u00e9ologique o\u00f9 l\u2019infiniment petit devient l\u2019outil capable d\u2019embrasser l\u2019ampleur des paysages les plus vertigineux.<\/p>\n

> Le site de la galerie galerierobetdantec.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Sept galeries nantaises s’associent pour cr\u00e9er “Le dimanche des Galeries” \u00e0 Nantes, le 7 d\u00e9cembre 2025. Parmi elles, la galerie Robet Dantec qui repr\u00e9sente Rebecca Brueder. L’artiste r\u00e9\u00e9crit la m\u00e9moire des sols, des ruines d\u2019Alep aux pierres respirantes de Roumanie. Portrait. La pierre pour matrice N\u00e9e en 1993, elle est dipl\u00f4m\u00e9e de l\u2019Ecole Sup\u00e9rieure des […]<\/p>\n","protected":false},"author":1,"featured_media":5596,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[1197],"tags":[1234,1329,1169],"class_list":["post-5593","post","type-post","status-publish","format-standard","has-post-thumbnail","category-portrait-artiste","tag-dessin-contemporain","tag-femmes-artistes","tag-photographie"],"yoast_head":"\nRebecca Brueder, un pointillisme de faille - GREAT-ARTMAG<\/title>\n<meta name=\"description\" content=\"La galerie Robet Dantec repr\u00e9sente Rebecca Brueder. 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