Born in 1999, Arthur Dujols Luquet is admitted to the Beaux-Arts de Paris in 2017, graduating with honours in 2023. He is the recipient of the 2019 Hélène Diamond Design Award. In 2020, he participates in the perfomance Degas-Danse at the Musée d’Orsay, which goes on to expand his questions around the presence of the body in the act of creation. His encounters with choreographers Emmanuelle Huynh, Boris Charmatz and Dimitri Chamblas, for whom he has performed, eventually feed his drawing practice with new perspectives in terms of both gesture and matter.
Across his engagement with Danse, he has deployed his artistic gesture in a cross-functional and interdisciplinary way, crossing over from a diligent drawing practice to one of performance. His Natures Suspendues drawings have received an honorary mention for the Pierre-David Weill Drawing Prize of the Académie des Beaux-Arts. In the same year he presents his thesis, titled Poétique de l’émergence, which delves into the creative process behind an artwork, from idea to matter while passing through the body.
More recently, Arthur Dujols-Luquet has also engaged with matter across a systematic experimentation of the primary gestures of the sculptor, the artisan, the artist. The result pertains less to an inventory and more to the creation of a world per se. In this way he develops an original approach of space and time, an approach that is simultaneously formal and conceptual, likely to redefine afresh our gaze upon what surrounds us. In this context, the ‘real’ is placed in perpetual interaction with the different ways it is perceived and practiced by human beings – primarily artists. His entire work has since echoed this.
Recipient of the Zao Wou-ki scholarship for 2023, he is now preparing for his journey to China in 2024, during which he hopes to pursue his research into gesture and the presence status of beings and things.
Creative process
Look. See.
A moment ago, just now, the air breathed through their movement. The hammer is now laid to rest, the gaze plunges into its vagueness as the fire continues to belch out its joys.
But there it is, it starts over. It has never ended. Because outside the wind blows, far away the tide is rising, here and everywhere, the apples are falling. The ink now sips from the paintbrush, drinks until it drowns. Steel, disguised with warmth, proclaims its incandescences – in these material gestures, it is the hand that guides the dance.
Look. See.
That hand, that hand which grips, pulls, pushes, holds and hits, throws, rubs and strikes. It’s the whole body. Of beings and of things. Every piece of matter has known its rages. Every piece of matter has its presences.
Look – See.
Gestures make up the world and the forces are its speech.
What is it that makes up the mysterious aura of beings and things? How certain bodies vibrate with such a strong presence? From there, I explore the objects of my fascination, carrying along the notions of relic, wear, of trace and imprint, those of the forces of nature that govern the world, those of the body that passes through, depositing its trace, stamping matter with its passage and its encounters.
