drawing

Beauty in the Ordinary

by Lucie Rivet, philosopher

When I first saw Maud’s drawings, I was inspired to revisit the work of the 19th century American poet Ralph Waldo Emerson.
Emerson believed that humankind had the ability to realise almost anything. He saw the relationship between the soul and the surrounding world as the most valuable thing in life. Emerson described the central doctrine of his work to be ‘the infinitude of the private man’ and it was these words that immediately came to me on seeing Maud’s work.

Maud explores the infinitude of everyday life, and we can find a narrative throughout her work. Her stories are revealed to us as she captures a moment in time, such as the shadows of glasses in a bar or cats playing on a rooftop. She considers and sees the beauty of her surroundings and is moved by the smallest of details, like a loved one’s ankles crossed under the table at breakfast. In Road Going up to Streatham we see two Vespas parked side by side, and can imagine them in conversation like two Italian friends.

Maud’s drawings show us the wholesomeness of a moment and share the richness of life we so often miss. She focuses our attention on the present and encourages us to appreciate life, to see and enjoy our immediate environment and find the wonder in the tiniest of details.

The drawings connect us to our daily life. Maud’s fine pen marks re-create on paper her observations, as if she sees every particle in her universe whilst simultaneously she invites us to see the beauty in the ordinary and mundane.

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Cafe Laville, 2015, ink on paper, 50 × 65 cm
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Glass and Joinery, 2015, ink on paper, 50 × 65 cm
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Monday Morning Routine, 2017, ink on paper, 65 × 50 cm
"When I signed up on social media, I was immediately intrigued and fascinated by these women who spend a substantial amount of their time working out, sculpting their bodies, in the aim which seems to be their own satisfaction. I was struck by the way they contort their bodies to get the perfect selfie while looking at themselves taking it.
I then worked on a drawing that would illustrate my view: a woman with a satisfied and serene look, in her bedroom, her face hit by a soft light, the whole atmosphere in the fashion of the fifteenth century Italian paintings, specifically the ones of Botticelli."
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Escape, 2016, ink on paper, 50 × 65 cm
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Home, 2016, ink on paper, 50 × 65 cm
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Akerman Road, 2016, ink on paper, 65 × 50 cm
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Saint Maclou’s Church, 2016, ink on paper, 65 × 50 cm
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Road Going up to Streatham, 2015, ink on paper, 50 × 65 cm
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In the Meantime, 2017, ink on paper, 50 × 65 cm
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Rue du Général Leclerc, 2017, ink on paper, 50 × 65 cm