LEAH LAPALME
studio_bleu et orange
At the very top center of the graph, it was written “Cézanne provence d. 1906” and I saw that it was linked to Cubism. As I looked up his works, I found his paintings of the mountain Sainte-Victoire. Unlike other landscape paintings, these were not realistic representations. Instead, they had angular forms, resembling Braque’s paintings. Since I wasn’t interested in creating a photographic likeness, his works made me want to know why he painted the way he did.
Cézanne was focusing on structural, geometric approaches for depicting the natural world. He was exploring the underlying structure, form, and relationship of objects in space. By showing an object from both a top view and a side view in the same painting, he was breaking away from traditional linear perspective, which assumes a fixed viewpoint. He sought to capture the "underlying order" of nature, leading to his signature technique of breaking down forms into planes of color and geometry.
I guess the advent and spread of photography may have encouraged him to explore new ways of painting, however, his process of exploration was far from easy. I believe it was undoubtedly a relentless struggle with himself, as he sought to discover a new way of seeing and painting.
Despite that, he persisted, paving the way for a new understanding of art. His exploration and practice played a key role in the development of Cubism and abstract art. Even today, his work continues to teach many artists, including myself, about how to approach one's artistic practice.
To begin, I’d like to talk about Bauhaus. I first learned about this art school through Gerrit Rietveld’s Red-Blue Chair, which used similar colors and geometric elements to Mondrian’s work and was invited to participate in the Bauhaus exhibitions. Mondrian was the first artist who drew me into the world of art, and his works mean a lot to me. So, when I saw this chair, it immediately caught my eye, and I wanted to learn more about Bauhaus. Its art and design represent the simplicity of form following function, which I found absolutely fascinating.
The idea of breaking away from traditional forms and eliminating unnecessary elements at the time certainly provided aesthetic direction to Bauhaus. But, I think that the rapid growth of industrialization in German society, along with the shift from traditional craftsmanship to mass production, pushed Bauhaus teachers and students to rethink their roles, and the need to respond to the social and economic upheaval caused by the war impacted the style they developed.
I think art reflects its times, and I find today is similar to the moment when Bauhaus was founded—in both cases, the world faced a necessity for rebuilding. The widespread collapse after the war affected many aspects of society in Germany; meanwhile, the value of traditional craftsmanship was diminished by mass production. Today, we are in the middle of the climate crisis and decline in biodiversity, which requires us to rethink and redesign what is causing these problems. What is the root cause of the rising global temperatures and the growing number of species threatened with extinction?
I think these environmental issues stem from our expansion on this planet, focused only on our own benefit. Our relentless pursuit of human-centered development has led us here, and I think this has been possible because, for a long time, humans have implied that other living organisms are beneath us—something we can easily take if we choose. Also, we often think of them as individual beings rather than as part of interconnected ecosystems. This mindset has led us to expand without consideration, assuming that our actions may affect only a few species, while in reality, the balance of ecosystems becomes susceptible to collapse.
The current environmental challenges inspire my work, and I hope that, one day, more people will recognize other species as equal survivors in the history of life and come to respect their existence.
Years later, after moving to Canada, I fell in love with art for its quality of communicating thoughts through artworks. I knew then I wanted to be an artist. But I found myself asking, "What do I want to say?" and "What is my art?"—questions I didn’t yet have the answers to.
So, I began my journey by studying historical artworks that had fascinated me, starting with Mondrian, the first artist who led me to see the beauty in art. From a single artwork, l'd search for related information-other artists who were creating at that time, whether many were working in a similar style, and what drove them to work that way. I had so many questions and was eager to learn.
As I looked into art history, I noticed one thing: artists are influenced by their times and circumstances. I realized I'm no exception to this.
So, I’m going to share why I’m currently working in this way, and talk about the artists or movements that inspired me.
What is the root cause of these problems?
I believe it stems from our historical focus on human prosperity. The emergence of these issues, particularly since the Industrial Revolution, followed by agricultural breakthroughs with nitrogen fertilizers, and the subsequent exponential increase in the human population, highlights how human-centric we were until today. It may seem natural for a species to prioritize its own prosperity, which could be seen as human nature. I should acknowledge that I belong to a generation that has benefited significantly from this growth. However, recognizing this past behavior, it is now crucial for us to change.
This understanding inspired me to continue working as an artist, but I realized I should do something more. Something more practical and realistic—something to which I could tangibly contribute. This led me to the idea of starting a design studio, named bleu et orange.
The name 'bleu et orange' embodies the fundamental principle of my studio. Blue and orange are complementary colors; when used together, they create a striking contrast, making each hue more vibrant. This concept reflects what I aim to achieve through design: different elements complementing and enhancing each other. In a narrow sense, this could involve composing objects within the same space. More broadly, it encompasses humans and other species living harmoniously on this planet.
Architecture is a crucial element in this vision because it represents the intersection where nature and human habitation converge. It delineates the interior, a space for human living, from the exterior, a habitat for fellow living beings to dwell. Landscaping the exterior of a building is not merely a choice but an essential element for us. Understanding local plants and placing them can invite more of indigenous insects, birds, and other wildlife.
With this principle in mind, I’m going to share conceptual images of architecture and the surrounding garden in the near future.