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Marine Lefebvre

MA work

They went away before I could see if they were real

My work aims to create spaces of sensational pleasure for sight and kinaesthetic. To do so I use print and installation to depict personal utopian spaces, which are however not spaces of comfort. I aim to evoke a sense of movement, calling into question how narrativity can be created on the edge betwen abstraction and illustration. A kind a uncertain event might have happened or be about to happen. In that sense the natural elements which make up my work and are drawn from memory, seem to have been affected by an invisible action, calling into question how do the natural instincts can be framed. Indeed these protected, bordered but still intriguing and attracting environments build an uncanny sensation partly because of this distance. The work investigates how intimate space and immensity can be confronted and work together. 

Humility and vulnerability are evoked and called into question by my simple, direct and almost childish relation with materials and techniques. This sense of play with materials in order to create unreal spaces interrogates how new realitiy and artificiality can be generated by memory.


  • MA Degree


    School of Humanities


    MA Print, 2017

  • My work is composed of analogue print, sculpture and installation to create personal utopian spaces. They are the result of reinterpretations of environments I experience. By aiming to make visible a place’s memory, I create a new dreamed space. I mentally assemble elements I have collected, drawings, images, colours and shapes to compose ideal landscapes. They invite to intimate projections.

    Layering colours and drawings, and playing with scales in the images and in the installations, build up depth
    and strangeness. To produce illusion, I use materials and technics in a way that the viewer do not recognise them. I let surprises happen by playing with mistakes. My work balances between illustration and abstraction, reality and dream. In order to create tension between these different aspects, the spaces are narrative and theatrical.

    The space I want to depict is natural, however, evidence of human actions are visible. The images are composed in
    a way that they are fragments of a wide space, a mental space. I am interested in what kind of natural environment are left on earth, and our relation to nature. This relation can be idealised, forgotten, false... By creating utopian natural spaces, which do not exist, I question this relation. The natural elements and the familiar ones are drawn in a way that the viewer does not identify them, they are left open to personal interpretation. They are put in unusual relations to each other to create an uncanny feeling. 

  • Degrees

  • MA Hons EnsAD (Ecole nationale superieure des Arts Decoratifs), 2015
  • Experience

  • Residency at Leith School of Art, Edinburgh, 09.2017-06.2018; Residency at Casa de Velazquez, Madrid, 06-07.2016; Internship at Landfall Press, Santa Fe, 08.2014; Internship at Michael Woolworth Publication, Paris, 07.2013; Internship at René Tazé's workshop, Paris, 06.2013
  • Exhibitions

  • Group Show, "Original national Print", Bankside Gallery, London 10.2017; Group show, Square Gallery, London, 06.2017; Group show, "Freshly Squeezed", Cafe Gallery, London, 04.2017; Group show, "neo:prize", neo gallery, Bolton, 08.2016; Group show, "Display", cafe gallery, london, 04.2016; Solo show, "Remaniement des Traces", Jahidi Gallerie, Paris, 10.2015; Group show, "Entropie", Jahidi Gallerie, Paris, 04.2014; Group show, Print Triennale, Krakow, 06.2014; Group show, "René Tazé's workshop's artists", Chatillon, 09.2013; Solo show, "Paysages suspendus", Jahidi Galerie, Paris, 04.2013
  • Awards

  • Shortlisted for the Original national print, 2017; Shortlisted for the Stanley Picker Tutorship, 2017; Shortlisted for the Neo:printprize, 2016; Award Fondation Bettencourt Shueller, 2015
  • Conferences

  • Tutor at Cheltenham School of Art, 2016
  • Publications

  • Article in the California Society of Printmakers Journal