{"id":3963,"date":"2022-01-14T11:48:15","date_gmt":"2022-01-14T10:48:15","guid":{"rendered":"https:\/\/marienoelledelapoype.com\/jean-marc-decrop-2010\/"},"modified":"2026-09-04T14:38:21","modified_gmt":"2026-09-04T12:38:21","slug":"jean-marc-decrop-2010","status":"publish","type":"page","link":"https:\/\/marienoelledelapoype.com\/en\/jean-marc-decrop-2010\/","title":{"rendered":"Jean-Marc Decrop (2010)"},"content":{"rendered":"\n<div class=\"et_pb_section_0 et_pb_section et_section_regular et_block_section section_has_divider et_pb_bottom_divider\"><div class=\"et_pb_row_0 et_pb_row et_block_row\"><div class=\"et_pb_column_0 et_pb_column et_pb_column_4_4 et-last-child et_block_column et_pb_css_mix_blend_mode_passthrough\"><div class=\"et_pb_text_0 et_pb_text et_pb_bg_layout_light et_pb_module et_flex_module preset--module--divi-text--default\"><div class=\"et_pb_text_inner\"><h1>Jean-Marc Decrop (2010)<\/h1>\n<\/div><\/div><\/div><\/div><div class=\"et_pb_bottom_inside_divider et-no-transition\"><\/div><\/div><div class=\"et_pb_section_1 et_pb_section et_section_regular et_block_section\"><div class=\"et_pb_row_1 et_pb_row et_block_row\"><div class=\"et_pb_column_1 et_pb_column et_pb_column_4_4 et-last-child et_block_column et_pb_css_mix_blend_mode_passthrough\"><div class=\"et_pb_text_1 et_pb_text et_pb_bg_layout_light et_pb_module et_block_module preset--module--divi-text--default\"><div class=\"et_pb_text_inner\"><h2 style=\"text-align: center;\"><strong>An encounter<\/strong><\/h2>\n<p><strong><\/strong><\/p>\n<p><em>By Jean-Marc Decrop CNES Expert in Contemporary Art <\/em><\/p>\n<p>It is in her house-studio (workshop) of the South of France that I discovered the sculptures of Marie-Noelle de La Poype. Planted in the ground or installed in cement plinths, they featured those surprising shapes recorded in the outlines of vertebras and bones of marine cetaceans. I was struck by this raw material, sometimes covered with a yellow lacquer carefully applied, giving a touch brightness and brilliance as well as an impression of silk and modernity.  <\/p>\n<p>When Marie-Noelle was speaking to me about her work, her husband was telling me about his last discoveries of marine mammals. A shared passion for nature and for this ancestral raw and primary material of bones, transported from Patagonia to give life to et astonishing sculptures of Marie-Noelle. I liked this work and the calm look that Marie-Noelle had on things, it was the beginning of a beautiful friendship.  <\/p>\n<p>The sculptures composed of bones \u2013 whole or broken \u2013 towered up, vertebrate as the impulse, in a quite symbolic verticality. Is it an attempt to communicate with the invisible, to join the absolute? Surprising totemic figures, they constitute a manifesto coming from the furthest times to express a sense of freedom, a certain will of surpassing.  <\/p>\n<p>The verticality takes place in both directions, the impulse towards absolute, but also needle which sinks into the depths, into the prehistory, into the foundations of the organic and the human being. It is also there, in the depths of mines, that Marie-Noelle will find the second material which she privileges to express herself: Slate. <\/p>\n<p>Again, the sculptures are raised as raw materials, minimalist structures, testimonies of a human activity connected to the sacred. They evoke the rite and a druidic activity.<\/p>\n<p>Her stone tapestries, following the example of Once Upon a Time, take the aspect of three troglodyte walls, which we imagine as the daily decoration of the human beings of the prehistory or of the extraterrestrials endowed with a futuristic technologie: it is at the same time simple and shows a surprising modernity.<\/p>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":7,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3963","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/marienoelledelapoype.com\/en\/wp-json\/wp\/v2\/pages\/3963","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/marienoelledelapoype.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marienoelledelapoype.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marienoelledelapoype.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/marienoelledelapoype.com\/en\/wp-json\/wp\/v2\/comments?post=3963"}],"version-history":[{"count":5,"href":"https:\/\/marienoelledelapoype.com\/en\/wp-json\/wp\/v2\/pages\/3963\/revisions"}],"predecessor-version":[{"id":26061,"href":"https:\/\/marienoelledelapoype.com\/en\/wp-json\/wp\/v2\/pages\/3963\/revisions\/26061"}],"wp:attachment":[{"href":"https:\/\/marienoelledelapoype.com\/en\/wp-json\/wp\/v2\/media?parent=3963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}