Chair provided with a thermochrom plate. The heat of the body changes the colour of the plate and leaves the exact print of the body according to the layer of clothes. Selected for Lille 2004.
Maryline BRUNET
Visual Artist

13 rue Auguste Maton
59870 Marchiennes

Phone : (33) 3 27 91 37 80
E-mail :

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This work began in 1999 as a combination of both paintings and installations. Portraiture is a reoccurring theme for me in my painting. Self -portraits require introspection in the same way that portraits of a model require an awareness of them and their presence. To capture their presence is to overtake them.

In the installations, mirrors or other reflective surfaces are there to engage (the Other). In this way they are integrated into the piece; their own gaze is reflected back on to them, the observer, as they become the observed. As for the portraits, I was in search of others, whose conscious and willing participation was absolutely necessary.

In offering this part of themselves, they demonstrated a desire to be both (present and presented. ) The pose itself is not natural but one of constraint, of uncertainty, of waiting. The back is turned and vulnerable.

The camera and I are at once too present and other times it is the model who evolves into an identity in and of themselves. all their own.
Watch as this part of the model is revealed, fleshy, coded and sensual,imposed me to respect my efforts to produce a portrait. Each figure delivers itself differently and the camera suprisingly captures this. Next , I veil and disrupt the image so as finally this exchange is made more “pregnant”.Which means to say that in the end the camera does not remain constant. In this way, each portrait is produced in an identical format, which once assembled creates a wall or an image of propinquity, closeness.

"On Off"
BE-ART CENTER Pyeongtaek COREA July 2006, installation, photographies and ligthning box.

Entre identité et altérité, un travail toujours à la limite du regard de l’autre, je réalise des dispositifs ou le jeu rencontre le je et l’autre. Des autoportraits dépourvus de narcissisme, un travail qui scrute et dissèque le corps soumis au temps du regard. Le temps se joue grâce à des dispositifs le plus souvent électriques, qui nécessitent une attente, un cycle, comme dans « Eteint » ou « Autoportrait ». Ce temps donné met en œuvre un aller/retour, on pense à l’attente d’une réponse qui n’arrive pas. Le corps est souvent mis à l’épreuve dans une attitude relevant le plus souvent de l’intime comme dans la « Chaise » ou dans les auto filmages et autoportraits.

Maryline Brunet

The letters of the word "éteint" ("off" in English) come on one after the other. The word "éteint" is never off

a panoramic lift carries a part of the dihedrom, as visitors go up and down (SODEG 1993).

Ballot box provided with a system of presence detection.The inside can't be seen when the spectator gets nearer. Then, it was filled wit children's names.
This work of art was given an award.

A closed rectangle, looking not a bit like a finite object but more like the framework of a constantly evolving building, as if it could incessantly be put together with other elements. This is the way the work Self-portrait 1999 by Maryline Brunet reveals itself to us. Uncompleted or Incompletable are the terms of a process that the artist has been carrying out for several years. This sealed rectangle contains a home automation system plugged to four super-eight projectors sending at sporadic intervals on mirrors with a hole, fragments of Brunet’s body which has then become informal due to the device that she uses. This almost explosive device, because of its aspect and its refusal to give itself away, sets up the notion of distance between the internal event tuned like a score and the movement constantly interruped by the fact that the film comes to a visual stop. Thus the artist creates an impossible which is that of a body that slips away in the rectangles to aim at placed in the mirrors ; its momentary disappearence takes us back to our own body incarnated then by a face and, at the end of an internal exploration, to the projection box endowed with the function of a speculum. That arrangement is fragile since the artist uses for the making of its parts first-hand means, which will be pushed to their limits. The whole arrangement then becomes the intimate and fleeting scene of a vital movement of the body and of a wobbly shelter on the point of collapsing on itself and losing for ever its function as a sensitive film unwinding machine.

Alexis Trousset


Box provided with mirrors on each face. Thanks to a switch, the spectator starts the screening of films on the mirrors. These are filmed auto-portraits. The pictures of the spectator and the films are superimpressed on the mirrors.

Expositions collectives (sélection)
2006. Serge Panigel, Paris
. Gallery BE ART - Center Pyeongtaek
2003. Participation au Magazine BIL BO K dans le cadre de Lille 2004.
2001. Lauréate 1% Conseil Général du Nord.
2000. JEUNE CREATION, Espace Eiffel Branly, Paris.
1998. GEOGRAFIE SENZA FRONTIERE, Gorgonzola (Italie)
. CLASSEURS D’ARTISTES, A.R.I.A.P. Lille, Cologne (All).
. 12e SALON de L’EPHEMERE, Fontenay sous Bois
1996. VILLA EKSTERNEST, Belgique.
1993. SIEMENS,Paris.
. SODEG,VILLENEUVE D'ASCQ, installation sur ascenseur panoramique.
. HALLE AUX DRAPS, Tournai, Belgique
1989. THE GALLERY, Rochester, (GB).

1998-2000, 100 x 100 x 7 cm
plexiglass, néons, image numérique sur transparent.

2004,néons, acrylique, 100 cm x100cm x20 cm chacun

Sans titre#9, 2003 acrylique sur papier marouflé sur toile, 50 cmx50cm

Autoportrait#15, 2003, acrylique sur toile, 100cmx100cm

Expositions individuelles (sélection)
2004Le PhéniX, Valenciennes
2002Projet pour Lille 2004 « Chaise thermochrome », SPCI, Paris
2000NOORDOVER, Dunkerque.
Acquisitions publiques :

. " HOMMAGE A VVG ", 1990, ville de Courrières.
. " DIEDRE ", 1993, SODEG, Villeneuve d'Ascq.
. " TABERNACLE "1995, ville de Grande Synthe.
. " SANS TITRE ", autoportrait 1998, ville d'Auby.
. " URNES", 2001 Collège d’Avesnes lez Aubert.

Dessin photographique, nue de dos
photographies, pastels, 21 x 29 cm.
Dessin photographique,
nature morte aux pommes
photographies, pastel, 21 x 29 cm

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