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Emmanuelle Rulland MAM Artiste plasticienne française Art contemporain Atelier artiste Annecy Haute Savoie Rhône Alpes Bauges

Born in Annecy, MAM has worked in Lyon, Rennes and Paris, and has travelled extensively with her backpack. Long in search of a personal, professional and then artistic path... Having returned to her native land some fifteen years ago, she now lives and paints at the foot of the Bauges mountains.

Inside or outside... In nature or at home... Solo, or in a shared studio... Against a wall or on the floor... MAM paints just about everywhere! And when the call is too strong, she creates with what's at hand.

Artist or Nothing 

Is it possible to talk about choice when it comes to survival? After giving her all in various fields of business, management, coaching and counselling... Emmanuelle wears herself out until there's no alternative but to face the facts: give her creation a professional place in her life. In taking this step, she gave birth to MAM. At first, she produced various types of paintings. But she soon felt limited, trapped in small formats. She joined a collective workshop. The energy of the place and the artists in full creative flow finally opened the doors to her art, which draws its source from the possibility of being shared. This is the story of a woman who becomes a visual artist, and above all the story of an artist who becomes herself.

Materials to create

Everything starts with a topical or social subject. In a notebook where words, graffiti, sketches and collages cover the pages, MAM deposits and gathers the first fragments of her inspiration.

Then she begins work on one or more works at the same time, if they are part of the same project. Her main tools are painting and writing. Other materials, such as paper, newspapers, fabric or wood, which she recovers, are also often incorporated into her work. It is increasingly rare for her to use a stretcher, as MAM likes to be as close as possible to the support, whether paper, wood or canvas. Since she is cramped for space, she has always favored large - even very large - formats, in which she fits entirely, as if to better inhabit her work and encourage a lively encounter with the viewer's eye and sensibility.

Works to say, do and undo

MAM seeks to reduce the spaces, to attenuate the interference between herself and the work. Between the work and the viewer. While the external form remains important, the focus is more on the message. It's the message that connects them all. With words, with hands, her work is transformed, takes on another dimension, assumes its heights and no longer apologizes for going deep. Lifting layers, deconstructing, abandoning artifice, remaking with a more instinctive gesture, reconciling with the raw, the essential, the primitive. His works speak without filters, and bear witness to this quest for a direct link with the viewer and his inner world.

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