BIO

Laure Molina is a French artist who was born in 1976. After a master's degree of art in Paris 1, she started her career with a collective exhibit in the art and history Museum of Saint-Denis in 1996. Her work is composed of 800 pieces, she uses many techniques and adapts them according to the conveyed idea. Between 1998 and 2004, Laure Molina lived in South America and Central America, which is how she gave a multicultural basis to her work. Her aim was to reconquer her cultures through love, art and openmindedness, and understand the keys of the New World. Since 2004, back in Europe, she shared the keys through a step-by-step artwork.

Personal exhibits:
2018 Galerie Céline Moine - Dark Matters - Lyon
2017 Espace Corot « Là où naît la lumière » - Montigny
2016 Galerie Baudoin Lebon, Le Passage Paris Nuit Blanche 2016
2015 Galerie Elizabeth Couturier « Sommes-Nous? » - Lyon
2014 Mairie du 3em arrondissement « You are in »
2013 Galerie Elizabeth Couturier -«M Toi » - Lyon
2012 Larcade Gallery - Paris – Quand l’Ombre devient arc-en-ciel
2011 Larcade Gallery – Paris France - Exposition «G»Borining Tree pour les 100 ans de Gallimard, Paris- Paris
2010 Wilsonstreet Gallery – Sydney Australie – expo Liminal2010 Le Printemps - Parly II – France – Expo : Pouvoir être arbre
2008 Alliance Française – Structure M- Sydney. Australie
- Vatier et associés. Paris.France
2006 Galerie Formato Comodo. Madrid. Espagne
exposition «Réfl exions»
Galerie JLS 13, Paris. France Exposition « Le jeu du Quetzacoalt
2005 Centre d’art Roger Barat. Herblay. France Expo. «Connexion»
2003 Galerie d’art, Panajachel. Guatemala – Equilibre relationnel
2000 Galerie Taina, Las Terrenas. Saint-Domingue – Extra Terre
1999 Les Lions du Val. Herblay. France - Etadom

Group shows:
2020 Friche Belle de Mai – Instants video festival– Marseille
2011 Larcade Gallery – Paris – expo : MAtrice
-Galerie de l’Escale- Levallois – réinvestir la planète
2009 Centre d’art contemporain. Zaragoza. Espagne
Janet Clayton Gallery. Sydney. Australie
Galerie Diaz-Castillo. Melbourne. Australie
2008 Galerie Diaz-Castillo, Melbourne. Australie
Galerie Formato Comodo. Madrid. Espagne
Galerie Carmen del Campo. Cordoba. Espagne
2007 Galerie Carmen del Campo. Cordoba. Espagne
Centro d’art contemporain. Zaragoza. Espagne
Casa Gorgonla. Cordoba. Espagne
-Espace de l’Ayuntamiento. Almodóvar del Rio. Espagne
2006 Centro de historia y arte contemporaneo. Zaragoza. Espagne
Casa del Potro. Cordoba. Espagne
2005 Palacio de Orive. Cordoba. Espagne
2004 Galerie Antonio Prates. Lisboa. Portugal
Cabelliza Reales. Cordoba. Espagne
1996 Musée d’art et d’histoire. Paris. France

ABOUT HER

Visiting Laure Molina's studio is both a motionless trip and a tour down the psychical strata most of the time dormant. Our eyes are immediately attracted to scultures in the middle of the room. Are they earth-made? No, they're wood, a wood that was choked behind a grey paint, light grey, powerful. They are many. Something creates surprise right away. Every character's head was replaced by an object. Those human beings literally lost their heads and vision. Is that why they are so endearing?

This series is entitled "O.M Culture Petit Gris", it conveys an unconventional but perfectly precise image of what "we" have become. Because, is it not their total indifference to everything solar and tellurian that characterises them?

Other things are to be looked at on the walls that surround the room. Lines of strange signs forming some sort of undecipherable language and yet that, through its light variations caused by the reflecting material in which those characters were cut from, seem to speak to us directly. To us? Let's say directly to some zones of our brains!

The text to be "looked at" is the "Statement de la culture terrienne " which evokes a commitment to the living beings. According to Laure Molina, indeed, it is important to think and experiment on the unexplored possibilities and the abilities inherent to the fact of being human. This painting reactivates the cerebral parts taken by the institutions and their endless speeches that we are constantly bombarded with.

What does she aim at with those shining and changing lines? Reaching out to us with the sunlight. If you stay long enough in her studio, you can see many rainbows that move through the day. Concerning our shadow, it can be colored thanks to the installation she has worked on since 2010.

And when we leave this magical place, we cannot help but wonder if it really is possible to put an end to our obscure projections and find again the way, in us, to being who we can be.

Jean-Louis Poitevin

EDITIONS

- Le Monde de la Vie – article de Laure Jaumouillé TK21 - 2020
La Gazette – Le Parisis – édition 18 janvier 2017 article p26
- Texte Julie Malaure -journaliste au Point
- Artrézo - Texte François Terrier - historien d’art
- MagazineTélérama : parution été 2011.
- Magazine Art actuel n72- janvier-février 2011 : “Art attittude”
- “Terre et Patrie “ Introduction Jean Paul Bath - édition de la mairie de Levallois
- Article de Aurore Schlumnerger - «jardiner la ville» - buzzibuzz - Jardiner la Ville» Article de Fabienne - Arttilt - 2011
- «Faire surgir les clefs de nouveau monde» - article de Marika Prévosto - ArtCatalyse -2010
- Critique d’art de LAura Pia - Magazine «Look» - Sydney Australie 2009. «Liminal» Texte de Janet Clayton - Edition trimestrielle - Wilsonstreet gallery- Sydney 2009
- Laure Molina “L’éco artiste” éditée par l’entreprise Areva revue HQ Insider . 2009
- “Open Art 2009” édition COSO et Centre ‘art contemporain de Saragosse - Espagne 2009
- “Creadores Internacionales” Edition Galerie Carmen del Campo- Cordoba- Espagne 2007
-«NAufragios» édition Mairie d’Almodovar del Rio - Espagne 2007
- «TAC 2006» Centre d’art et d’histoire de Saragosse - 2006
- “Refl exiones” critique d’art par Miguel Cereceda- Madrid Espagne - 2006
- “TAC 2005” édition COSO et la mairie de Cordoba - Espagne 2005
- “Only” edition mairie de Cordoba et de Coso producciones culturales- Espagne 2004
« Easy viewing » exposition muséed’art et d’histoire de Saint-Denis

VIDEO