Rosanna Lefeuvre’s practice minutely blends materials and manners. She weaves herself and prints her photographs on textile, allowing or disallowing the image
to bind itself. These veils marked with images lure the spectator, whose desire
to grasp their nature or the revelation of their representation then distances them. Grasping is therefore a question of distance, paradoxically, far from these hands that are tangled up in a “reserve,” which is also that of painting. By appealing to the traditional role of the canvas as support and surface, she allows for the quasi ghostly presence of bodies, the details of bodies, and faces. In a number of her works, two overlapping fabrics – the material support for the work and the item of clothing – enter into collusion as they both dissimulate and reveal subjects that borrow from the sensuality Barthes describes as the gap between “the glove and the sleeve”: “Is not the most erotic place of the body where the clothing yawns?”. Some of her work takes on, in this domestic poetry, the load
of an open collar, just like classical painting reveals, by covering them, the reliefs of a body whose modesty it feigns. Thus, bloated with fragmented bodies, it add
a reference to pleats in classical art to the pictorial challenge of monochrome, with photographs of, on the one hand, teenage imagery, on the other, the strange and irresistible momentum of clothing as it is lifted.
After exhibitions in London, Paris, Helsinki and at the Salon de Montrouge in 2019, she will present new works in 2020. Besides fine art, she's slipping between photography, fashion and trend forecasting.