Jean-Marc Tournois
Encyclopedia
Jean-Marc Tournois is a contemporary French artist. Stylistically the art of Tournois tends to be close to figurative
abstraction
. Tournois characteristically uses simplified shapes and forms, his themes include mythology
, observations of nature (animals and plants) and human behavior.
and Constantin Brâncuşi
is clearly visible in his first bronzes, Piano and Dona. Both constitute milestones in his artistic development, casting future tendencies and an unmistakable signature of swinging proportions, harmonious asymmetry and elegant, flowing curves.
Jean-Marc Tournois is the author of a number of monumental sculptures that decorate the urban spaces of many European towns. In 1987 the city of Dijon
(France) commissioned Heron. In 1988 the artist produced one of his best sculptures Jazz en Europe, now in Metz
(France). Three years later the artist participated in the Biennale of the Foundation d'Entreprise Ricard, with his sculpture Chrysalide. The same year he completed Daioso, cut out of Burgundy limestone, for the town of Plombières-les-Dijon (France). In 1993 Tournois he worked on Développement, a sculpture commissioned by the town of Anweiler (Germany). In 1994-1995 he took part in the Skulpturenweg public competition, funded by the state government of Rhineland-Palatinate. From this emerged two sculptures Ohne Titel (Untitled), in Herxheim
, and Rätsel (Riddle), in Rodalben
. Finally, in 1998 Tournois executed three bronze sculptures, Carnaval (Mâcon
, France), Naïade,(Chevigny-Saint-Sauveur
,France) and Jazz (Crans-Montana
, Switzerland).
Before dedicating himself to sculpture Jean-Marc Tournois had worked as a designer on the sets of film productions such as Les amants du Pont-Neuf by Leos Carax
(a five-meter high equestrian statue of Henry IV
), Grossesse nerveuse and La vie de Giacometti. His work in theatre included interior decorations at the Opéra Garnier and at the Théâtre de la Colline in Paris, as well as at theatres in Lille and in Marseille.
As a general rule the works of Jean-Marc Tournois are the product of a gathering effort ('assemblage') of thematic elements drawn from different sources (such as myths), all fused into one theme. Reconstructed and transformed, the original myths find their new connotations and meanings that correspond to our reality, and to a great extent to ourselves. In a way the artist works on the creation of 'an updated myth' or 'a new myth' which contains a range of coded messages accessible to the modern viewer. On viewing a sculpture one feels immediately drawn into the world of Tournois. The entire experience could be compared to that of a tease game with an element of derision. The viewer is puzzled, questions, and creates links with various visual and auditory associations; in other words he is more likely to look for answers within himself than outside. In this sense one can claim that Tournois encourages space for the privacy of one's thoughts and perceptions.
(a 15th c. French poet). According to a medieval legend Mandragore (or Mandrake
in English) grew uniquely under the gallows, from the semen of hanged criminals. For its roots' resemblance with the human body and also for its medicinal properties the plant was attributed various supernatural powers that associated it with witch-craft. Mandrake was often humanized in the sense that it could experience pain, produce sounds, etc. Although the sculpture is not a direct representation of the verses of François Villon, it reflects Tournois' own impressions of the beliefs and way of thinking of a medieval person. The verses give more or less clear picture of the perception of death as the natural ending of human life and the beginning of a new one. Life after death is closely linked to magic, and the Mandrake myth is proof of such thought. The sculpture itself represents leaves (though the root is hidden in the ground) as if rejecting the negativity associated with the plant's roots. The sculpture gives the overall impression of lightness and growth - the triumph of life over death, continuity of life and artistic aspiration. In general the proportions of the sculpture resemble the human body - a reference to the original myth. One of the facets reveals the shape of a feather - a reference to the poet François Villon and his writings. Another facet, where the sculpture seems to be cut across from head to feet by a single line, reminds us of a blade or a sword on a pedestal. It is a reference to the harshness of life in medieval Europe. The combination of wooden structure and iron base refers to the contrast between this harshness and the sensitivity and tenderness of the verses of François Villon.
. The primary thematic material for this sculpture is a famous myth about Loreley - a legendary figure of the Rhine mythology that became a metaphor for fatal attraction. Loreley is a beautiful siren
with golden hair who sits on the rock and enchants the ferrymen with her singing and murmuring, leading them towards their inevitable death. Tournois changes all the negative and sentimental context of this heartrending legend and gives it a new positive and even humoristic connotation. Thus Loreley is transformed into a foghorn whose primary role from now on is not to send boats to the bottom of the river, but to help them find their way around dangerous shipping obstacles. The function of the foghorn is represented symbolically in the form of a trumpet
. Musical instruments or reference to music or sound is one of the most commonly used themes in the art of Tournois. The humoristic element of this sculpture are the thighs, which look grotesquely overdrawn when compared to other parts of the 'body' (although the artist himself admits that not every viewer had this impression). It is a witty hint as to the true nature of physical attraction and a slap in the face to a romanticised view of female beauty. The sculpture has the shape of a figurehead
at the prow of a ship that breaks the waves. It is an important reference to nautical history in general as well as to life at sea - another world with its own myths and deities, its own rules and codes. In this sense the artist brings forward his own fascination with the sea, its eternal movement, force and freedom. The overall view of the sculptured figure of the Corne de Brume with a trumpet resembles the figures in triumphal scenes so common in 18th and 19th century painting. It is a reference to the celebration of life (a theme so common to the art of Tournois), to determination overcoming obstacles.
Figurative art
Figurative art, sometimes written as figurativism, describes artwork—particularly paintings and sculptures—which are clearly derived from real object sources, and are therefore by definition representational.-Definition:...
abstraction
Abstraction
Abstraction is a process by which higher concepts are derived from the usage and classification of literal concepts, first principles, or other methods....
. Tournois characteristically uses simplified shapes and forms, his themes include mythology
Mythology
The term mythology can refer either to the study of myths, or to a body or collection of myths. As examples, comparative mythology is the study of connections between myths from different cultures, whereas Greek mythology is the body of myths from ancient Greece...
, observations of nature (animals and plants) and human behavior.
Biography
Jean-Marc Tournois decided to turn his creativity to contemporary sculpture in the early 1980s. Tournois' inspiration by the abstract sculptures of Henry MooreHenry Moore
Henry Spencer Moore OM CH FBA was an English sculptor and artist. He was best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art....
and Constantin Brâncuşi
Constantin Brancusi
Constantin Brâncuşi was a Romanian-born sculptor who made his career in France. As a child he displayed an aptitude for carving wooden farm tools. Formal studies took him first to Bucharest, then to Munich, then to the École des Beaux-Arts in Paris...
is clearly visible in his first bronzes, Piano and Dona. Both constitute milestones in his artistic development, casting future tendencies and an unmistakable signature of swinging proportions, harmonious asymmetry and elegant, flowing curves.
Jean-Marc Tournois is the author of a number of monumental sculptures that decorate the urban spaces of many European towns. In 1987 the city of Dijon
Dijon
Dijon is a city in eastern France, the capital of the Côte-d'Or département and of the Burgundy region.Dijon is the historical capital of the region of Burgundy. Population : 151,576 within the city limits; 250,516 for the greater Dijon area....
(France) commissioned Heron. In 1988 the artist produced one of his best sculptures Jazz en Europe, now in Metz
Metz
Metz is a city in the northeast of France located at the confluence of the Moselle and the Seille rivers.Metz is the capital of the Lorraine region and prefecture of the Moselle department. Located near the tripoint along the junction of France, Germany, and Luxembourg, Metz forms a central place...
(France). Three years later the artist participated in the Biennale of the Foundation d'Entreprise Ricard, with his sculpture Chrysalide. The same year he completed Daioso, cut out of Burgundy limestone, for the town of Plombières-les-Dijon (France). In 1993 Tournois he worked on Développement, a sculpture commissioned by the town of Anweiler (Germany). In 1994-1995 he took part in the Skulpturenweg public competition, funded by the state government of Rhineland-Palatinate. From this emerged two sculptures Ohne Titel (Untitled), in Herxheim
Herxheim
Herxheim is a municipality in the Südliche Weinstraße district, in Rhineland-Palatinate, Germany. It is situated approx. 10 km south-east of Landau. Herxheim is the seat of the Verbandsgemeinde Herxheim....
, and Rätsel (Riddle), in Rodalben
Rodalben
Rodalben is a municipality in the Südwestpfalz district, in Rhineland-Palatinate, Germany. It is situated in the Palatinate forest, approx. 5 km northeast of Pirmasens.Rodalben is the seat of the Verbandsgemeinde Rodalben....
. Finally, in 1998 Tournois executed three bronze sculptures, Carnaval (Mâcon
Mâcon
Mâcon is a small city in central France. It is prefecture of the Saône-et-Loire department, in the region of Bourgogne, and the capital of the Mâconnais district. Mâcon is home to over 35,000 residents, called Mâconnais.-Geography:...
, France), Naïade,(Chevigny-Saint-Sauveur
Chevigny-Saint-Sauveur
Chevigny-Saint-Sauveur is a commune in the Côte-d'Or department in eastern France.-Population:-References:*...
,France) and Jazz (Crans-Montana
Crans-Montana
Crans-Montana is a ski resort in western Switzerland, in the heart of the Swiss Alps in the canton of Valais. It is located on a plateau above Sierre at an elevation of about 1500 m above sea level, allowing good view over the Valais Alps and Weisshorn in particular...
, Switzerland).
Before dedicating himself to sculpture Jean-Marc Tournois had worked as a designer on the sets of film productions such as Les amants du Pont-Neuf by Leos Carax
Leos Carax
Leos Carax is a French-born film director, critic, and writer. Carax is noted for his poetic style and his tortured depictions of love. His first major work was Boy Meets Girl , and his notable works include Lovers on the Bridge and the controversial Pola X...
(a five-meter high equestrian statue of Henry IV
Henry IV of France
Henry IV , Henri-Quatre, was King of France from 1589 to 1610 and King of Navarre from 1572 to 1610. He was the first monarch of the Bourbon branch of the Capetian dynasty in France....
), Grossesse nerveuse and La vie de Giacometti. His work in theatre included interior decorations at the Opéra Garnier and at the Théâtre de la Colline in Paris, as well as at theatres in Lille and in Marseille.
As a general rule the works of Jean-Marc Tournois are the product of a gathering effort ('assemblage') of thematic elements drawn from different sources (such as myths), all fused into one theme. Reconstructed and transformed, the original myths find their new connotations and meanings that correspond to our reality, and to a great extent to ourselves. In a way the artist works on the creation of 'an updated myth' or 'a new myth' which contains a range of coded messages accessible to the modern viewer. On viewing a sculpture one feels immediately drawn into the world of Tournois. The entire experience could be compared to that of a tease game with an element of derision. The viewer is puzzled, questions, and creates links with various visual and auditory associations; in other words he is more likely to look for answers within himself than outside. In this sense one can claim that Tournois encourages space for the privacy of one's thoughts and perceptions.
Mandragore
This sculpture is inspired by a myth about a magical plant and verses by François VillonFrançois Villon
François Villon was a French poet, thief, and vagabond. He is perhaps best known for his Testaments and his Ballade des Pendus, written while in prison...
(a 15th c. French poet). According to a medieval legend Mandragore (or Mandrake
Mandrake
Mandrake may refer to:* Mandrake , a plant of the genus Mandragora* Mandragora , in occultism* Mandrake Linux, former name of Mandriva Linux, a computer operating system...
in English) grew uniquely under the gallows, from the semen of hanged criminals. For its roots' resemblance with the human body and also for its medicinal properties the plant was attributed various supernatural powers that associated it with witch-craft. Mandrake was often humanized in the sense that it could experience pain, produce sounds, etc. Although the sculpture is not a direct representation of the verses of François Villon, it reflects Tournois' own impressions of the beliefs and way of thinking of a medieval person. The verses give more or less clear picture of the perception of death as the natural ending of human life and the beginning of a new one. Life after death is closely linked to magic, and the Mandrake myth is proof of such thought. The sculpture itself represents leaves (though the root is hidden in the ground) as if rejecting the negativity associated with the plant's roots. The sculpture gives the overall impression of lightness and growth - the triumph of life over death, continuity of life and artistic aspiration. In general the proportions of the sculpture resemble the human body - a reference to the original myth. One of the facets reveals the shape of a feather - a reference to the poet François Villon and his writings. Another facet, where the sculpture seems to be cut across from head to feet by a single line, reminds us of a blade or a sword on a pedestal. It is a reference to the harshness of life in medieval Europe. The combination of wooden structure and iron base refers to the contrast between this harshness and the sensitivity and tenderness of the verses of François Villon.
Corne de Brume
In English translation this French term means foghornFoghorn
A foghorn or fog signal or fog bell is a device that uses sound to warn vehicles of hazards or boats of the presence of other vehicles in foggy conditions. The term is most often used in relation to marine transport...
. The primary thematic material for this sculpture is a famous myth about Loreley - a legendary figure of the Rhine mythology that became a metaphor for fatal attraction. Loreley is a beautiful siren
Siren
In Greek mythology, the Sirens were three dangerous mermaid like creatures, portrayed as seductresses who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on an island called Sirenum scopuli...
with golden hair who sits on the rock and enchants the ferrymen with her singing and murmuring, leading them towards their inevitable death. Tournois changes all the negative and sentimental context of this heartrending legend and gives it a new positive and even humoristic connotation. Thus Loreley is transformed into a foghorn whose primary role from now on is not to send boats to the bottom of the river, but to help them find their way around dangerous shipping obstacles. The function of the foghorn is represented symbolically in the form of a trumpet
Trumpet
The trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments, dating back to at least 1500 BCE. They are played by blowing air through closed lips, producing a "buzzing" sound which starts a standing wave vibration in the air...
. Musical instruments or reference to music or sound is one of the most commonly used themes in the art of Tournois. The humoristic element of this sculpture are the thighs, which look grotesquely overdrawn when compared to other parts of the 'body' (although the artist himself admits that not every viewer had this impression). It is a witty hint as to the true nature of physical attraction and a slap in the face to a romanticised view of female beauty. The sculpture has the shape of a figurehead
Figurehead
A figurehead is a carved wooden decoration found at the prow of ships largely made between the 16th and 19th century.-History:Although earlier ships had often had some form of bow ornamentation A figurehead is a carved wooden decoration found at the prow of ships largely made between the 16th and...
at the prow of a ship that breaks the waves. It is an important reference to nautical history in general as well as to life at sea - another world with its own myths and deities, its own rules and codes. In this sense the artist brings forward his own fascination with the sea, its eternal movement, force and freedom. The overall view of the sculptured figure of the Corne de Brume with a trumpet resembles the figures in triumphal scenes so common in 18th and 19th century painting. It is a reference to the celebration of life (a theme so common to the art of Tournois), to determination overcoming obstacles.
Volume and graphics
Tournois develops a particular approach to abstracting a figure, and this could be compared to the styles of Pompon and Brâncuşi. His expression of volume in just a few lines and curves plays an essential role as it creates an essential link of communication to the primary idea of the sculpture. That is to say that the real essence of an object does not necessarily lie in its external form, but is found in its meaning and fundamental idea. What is more the depth of artistic conception does not require complexity of form, but simplicity. Volume represents a three-dimensional space that consists of many one-dimensional figures - lines. Before proceeding with a new sculpture the artist draws a sketch of a solid object to create a graphic illusion of a volumetric image by using simple lines. Later the artist eliminates the unnecessary lines and works only with those that best reveal the essence of the idea. The imagination of the viewer then completes the image, with missing lines creating new perceptions and interpretations.- Conseil Régional de Bourgogne (éd.), 1895 - 1995 : 100 ans de cinéma en Bourgogne, 1995.
- Stadt Rodalben (Hg.), Internationales Bildhauer-Symposium Rodalben 1995, brochure, n.d.
- Kreisverwaltung Südliche Weinstrasse (Hg.), Internationales Bildhauer-Symposium Südliche Weinstrasse 16.5.-18.6.1994, brochure, n.d.
- Kultursommer Rheinland-Pfalz e.V. (Hg.), Skulpturenweg Rheinland-Pfalz - Kunst und Natur im Wechselspiel, brochure, 1998.