List of products by brand Marie-Claude Bugeaud
SOLO SHOWS
2018
La liberté à l’œuvre galerie Berthet-Aittouarès, Paris
œuvre sur papier, galerie Olivier Nouvellet
2016
peintures, 2015-2016 galerie Djeziri-Bonn, Paris
2015
concrète fiction, galerie béa-ba, Marseille
autour du livre, galerie Djeziri Bonn, Paris
2013
galerie Djeziri Bonn-Linard, Paris
2011
galerie Jean-Greset, Besançon galerie AL/MA, Montpellier.
2010
Eric Linard galerie, , La Garde Adhémar2009Hôtel des Arts, Toulon.
2009
Galerie Vieille du Temple, Paris.
2005
Les Judith, Abbatiale de Bernay, Eure.
galerie Franch Font, Montpellier.
l'art dans les chapelles, Saint Tugdual, Quistinic.
2004
Papiers découpés, papiers retrouvés
Maison des arts d'Evreux, Maison des arts de Bagneux.
2003
le 19, CRAC: Ecole d'art de Belfort.
Moments artistiques, Christian Aubert, Paris.
2002
galerie Julio Gonzalez, Arcueil.
2001
galerie de l'ESAD, Reims.
2000
Maison des Arts de Malakoff.
GROUP SHOWS
2022
Dedans/Dehors, Galerie Béa-Ba, Marseille
2021
3 femmes en couleurs, Galerie Berthet-Aittouarès, Paris
2020
galerie Jean Greset, Besançon.
galerie des femmes, Paris
Le pieds de la lettre,Tita Reut, Marie-Claude Bugeaud.
édition Ecarts , galerie Berthet Aittouares
2019
Flora Maxima, domaine de Kerguéhennec, Morbihan
Drawing Now, galerie Berthet-Aittoarès, Paris 3 femmes,
3 générations, MC Bugeaud, Vera Molnar, Anne Ferrer, Bugeaud, Colin-Colin, Demozay, Galerie Béa-Ba, Marseille
2018
tree free, Bugeaud,Destarac,Lacalmontie,Galerie du Canon,Toulon.
au fil du siècle 1918-2018 Galerie des Gobelins, Paris.
186 feuilles collectionde dessins de la Ville de Vitry.
2017
Musée des beaux Arts de Saint LÔ
Marie-Claude Bugeaud, Chantal Petit, Mamadou Cissé.
La proposition embarassante, Villa balthazar, Valence.
Marie-Claude Bugeaud, Nathalie Da Silva
Passion centre d'Art sacré, Lille
croisement, galerie Olivier Nouvelle, Paris
Les unes et les autres, galerie du 5ième, Marseille
2016
dessins et petits formats, Galerie Djeziri-Bonn, Paris
douze mois de passion Annick & Louis Doucet, Langueux
le dessin d'abord,Musée de Nogent Le Rotrou
Transmitter gallery, Brooklyn, USA
de la couleur à la lumière Abbaye de La Celle, Var
livres d'artiste au féminin Edit. Méridianes, Montpellier.
le dessin d'abord, Musée de Nogent Le Rotrou.
bringsomething-pink, Carte blanche à Look-Listen, Paris.
des peintures Subito-Presto, Paris.
pourquoi pas, Galerie Olivier Nouvellet, Paris
2015
dessins et petits formats, Galerie Djeziri-Bonn, Paris
No Limit n°11, Bugeaud, Bouffandeau, La Vigie, NïmesSLICK, galerie Djeziri-Bonn, Paris
avec elles, pour finir en beauté,galerie L'AGART, Amilly
Carte blanche à Pierre Buraglio,galerie Jean Fournier, Paris
2014
autour du dessin, galerie Djeziri-Bonn
Color Abstr(Act), galerie béa-ba, Marseille
Où est passée la peinture, Fontenay sous Bois
She'is a rainbow,Galerie Jean Greset, Besançon
l'origine du monde:une proposition contemporaine. galerie Jean Greset, Besançon - galerie Maréchal, Ornans
2013
SLICK, galerie Djeziri-Bonn-Linard, Paris
trois fois rien, le 19, CRAC, Montbelliard
Où est passée la peinture, Fontenay sous Bois
Galerie Olivier Nouvellet, Paris.
She's a rainbow, Galerie Jean Greset, Besançon.
2012
rencontres d'octobre, carte blanche à Olivier Delavallade, galerie Jacqueline Boissier, Paris.
Art on paper, galerie AL/MA, Bruxelles.
réserve sans réserve,Eric Linard, La Garde Adhémar.
Carte blanche à Pierre Buraglio, galerie Olivier Nouvellet, Paris.
Couleur du corps, Moissac-Bellevue.
Nice to meet you, galerie MGE, Pantin.
2011
drawing room 011,galerie AL/MA, Montpellier.
carte blanche à Nicole Dortindeguey, galerie Deleuze-Rochetin, Arpaillargues.
Art Protect galerie Yvon Lambert, Paris.
2010
Salon du dessin, galerie Vieille du Temple, Paris.
2009
Un fond si proche, Carte blanche à Olivier Delavallade, l'H du siège, Valenciennes.
Regard sur la collection du Conseil général du Var, Hôtel des Arts, Toulon.
Carte blanche à Lydia Harambourg, Maison des arts de Châtillon.
réserve sans réserve , Eric Linard Galerie, La Garde Adhémar.
2008
Traviol'expo Galerie Vieille du Temple, Paris.
Sextet, Galerie Vieille du Temple, Paris
Sexet Musée des Beaux Arts, Lönnströmin, Rauma, Finlande.
20 ans et plus Galerie Vieille du Temple, Paris.
There is this temptation of beauty—and the necessity of destroying it. There is the risk of yielding to virtuosity, and then work as a way of overturning it. It begins with a monochrome—certainly not completely uniform, more whitewashed than “properly” painted, but present enough, sufficiently there, for that very presence, so strong in its evident simplicity, to assert itself. Against the painter, despite herself. Thus begins the work of Marie-Claude Bugeaud: with the temptation to stop there.
This is how her practice is constructed: through her ability to break, by other signs, the spell of the monochrome.
Her art is that of the draughtswoman: the art of the line that incises and separates, that delineates and splits—an art whose accuracy is measured only by what each line destroys, by the wound each mark inflicts upon the initial monochrome.
Marie-Claude Bugeaud cuts into color, establishes space with a single stroke that transforms a white, a blue, or any other hue from a flat surface into a suddenly porous space. Hers is the art of a painter who seizes everything the canvas offers. For her, painting is a struggle—but a struggle all the more intense for having to remain discreet.
Pierre Wat
Where Images Are Born
A few forms: dots, lines, traced on canvas or on fragments of paper that are cut out and pasted. From these forms figures may emerge: a chair, a pair of slippers, a face, or even a landscape. This drawing joins with a colored surface that may be diluted or opaque, vivid or lighter in tone. Sometimes successive overlays give the color a particular vibration and luminosity.
Dots, lines, colored surfaces: in this list one recognizes a stripping down of means, a vocabulary reduced to the primary elements of painting. And yet this formal description misses the essential point: Marie-Claude Bugeaud’s painting is an art of relationships. The drawing proceeds from its encounter with a ground; to trace within color is not a matter of balance but of right accord—in the musical sense. From this encounter arises a capacity for multiple evocations born from the simplicity of these elements. The dot and the line are never pure or merely abstract forms in her work. With color, they become traces and links connecting sensations, memories, and emotions. The painting does not close in on itself; it does not proceed by reduction but by opening. It welcomes the interweaving of sensations, captured in the moment and deposited in the material space of the canvas.
It is worth noting that Marie-Claude Bugeaud’s work began in a period when painting was being proclaimed reduced to its zero degree—to repetition of the same or even to the cessation of painting itself, as one might think of Michel Parmentier or Simon Hantaï. Yet the artist’s approach testifies to a refusal of this exhaustion of painting, overturning the injunction toward “less” into an ever-renewed expression of a here and now. Such a position, combined with a surpassing of the opposition between figuration and abstraction, initially made her work difficult to situate within established categories, particularly in France. And yet her painting shares common orientations with artists such as Mary Heilmann in the United States or Raoul De Keyser in Europe—orientations that helped renew painting and with which many artists of subsequent generations have identified.
The refusal of closure in Marie-Claude Bugeaud’s work is manifested in the movement that runs through all her painting. Movement is first present in the relationship between drawing and color. The monochrome ground is not, as it has been for many artists, an end point but rather an impulse, a call toward a drawing that particularizes the surface in a singular emotion. The drawing itself is inseparable from gesture. Whether repeating lines or dots or bringing forth a motif, it appears in its tracing as an ephemeral proposition born from its encounter with the colored surface. The painting thus integrates its revisions, reprises, and accidents as the very movement of its emergence. Seen in relation to this movement, Marie-Claude Bugeaud’s painting is neither figurative nor abstract but lies beyond these oppositions, within the act of painting itself, which can accommodate diverse forms and gestures.
Among these forms, the few motifs that appear—here chairs, there “the slippers of confinement”—reveal an attention to things and, through them, to the bodies that handle them, wear them out, or simply rest in them. The bodily, carnal, often even sensual dimension of this painting becomes more evident here, though it is already at play in the relationship between drawing and color. The painting gathers past and present sensations, desires and projections, suspended in the lightness of the moment. It does not seek to make an image; it situates itself where images are born, in the intertwining of our perceptions and our desires.
Romain Mathieu
