Mireille CHEVIN is a child of the Country nourished by light, skin color, shapes above all that you can glance at, to fix in clay, to flow in eternal bronze.
In each of her sculptures hides a woman from whom Mireille has stolen a little soul! Spiritual daughter of VOLTI, Laureate of the grant for the creation of Ambroise VOLLARD, Mireille CHEVIN first expresses in each of her works her inner voice.
None of his creations leave indifferent, all are strong; image of radiant women with blooming forms, bronze imbued with an intense and triumphant sensuality.
Françoise ARQUETOUT - Writer
"If there are sweet moments during which we do not regret that humanity has not yet emerged from the Bronze Age, it is indeed those moments spent in the company of the works of Mireille CHEVIN.
Suaves for two reasons:
The bronzes are superb, of a deep color, full, of a workmanship at the same time nervous and accomplished, of which Mireille CHEVIN says herself that this way is the expression of her drawing trait, like a thousand strokes feathers, embellishing the portrait and giving it life, in a becoming just enough accomplished to seem to come true before our eyes.
Superb also these bronzes, I was going to say above all, because they are the glorification of a female body which shows itself in all its fullness, in its generous forms, in its sensual postures and its assertive sex…
Someone said to me during this evening and in front of my delight: if they all please you, you have to take them all ... Challenge, alas, beyond my means ...
Superb these bronzes, in the modesty, the poetry, the delicacy of the lines, the softness of the gestures, as if Eros finally made, at this time, a little of the place that it deserves in the infinite tenderness offered and offering the face , whose interiority gives us such a beautiful image.
Thus is revealed the mastery of Mireille Chevin; it is from the whole body in its movement and in its expression that the authenticity and the justification of the look arise.
And then ... supreme satisfaction, the pleasure for the somewhat voyeuristic spectator that we do not admit to ourselves: to turn around a woman, to look at her from every angle, without her blaming us for it ... does this well, to surprise the hesitation that visitors have, to put their hand on the roundness accomplished at the bottom of the kidneys, on the shoulder whose movement seems to want to fade in the expectation of the caress ... Proof if it were necessary that these creatures are perhaps bronze, but do not leave us marble… ”
Jean Gelbseiden, writer, art critic
- St Denis de la Réunion since 1990
- Art library
- City Hall
- 1991 to 1994 Galerie du Cadre Noir
- 1997 Hôtel de Region (Montpellier)
- 1997 Gallery of the Tour des Cardinaux (Ile sur la Sorgue)
- 1999 Gallery of the Hôtel de Sceaux (Beaune)
- 1999 - 2000 Galerie Fardel (Annecy)
- 2000 Galerie Titren (Beaune)
- permanently since 1997 at the Galerie de l'Ecusson (Montpellier)