Through her new series of drawings on felt, she reinterprets in a veiled manner various images broadcasted on
Internet or published in the press, reporting dramatic events of our contemporary history, such as the explosion of
a bus bomb in Somalia, a shooting in Bangladesh, an attack in Pakistan or a nightclub targeted by Islamic terrorists
Silhouettes of men and women in a precarious situation are delicately reconstituted by applying a large range of
coloured pencils to the white, smooth and reassuring surface of a large segment of felt.
By mixing the pigments with the textile fiber, the drawing blurs the shapes due to the inner property of this material
to trap the colours. The gesture leads to an abstract composition almost impossible to be brought into focus.
The original image sourced from the press is cropped in order to draw the attention on the central part of the
action . This re framing device covers the tracks, leaving the resulting picture barely recognizable. However , some
clues allow the gaze to re-establish a narrative pattern from abstraction. The support itself is transformed by the
passage of the pencil, by acquiring volume, the drawing becomes sculpture. The title Rémanences evokes the phenomenon by which a visual imprint subsists after the disappearance of the
objective stimulus. In psychology, the term "retinal persistence" is used to describe the functioning of human vision
and it refers to the optical illusion that occurs when visual perception of an object does not cease for some time
after the rays of light proceeding from it have ceased to enter the eye. Any image lasts on the retina for
approximately 1/25 seconds: "If, after looking at a colored object for a certain time, The eyes, are immediately
covered by a handkerchief on which we apply both hands, will soon appear an image of a color complementary
to that the object. " ( Pierre Auguste Adet, Annales de Chimie, 1835)
In the same way, during her creative process Léa’s view assimilates the snapshot , and when her gaze is turned
towards the blank felt, the gesture seems to be carried by the persistent memory of forms, composition and colors.
The drawing resumes the clear, brightly-colored image sourced from the press, capturing on the field people in
distress without any detour. The manual transcription allows the visual information coming from the photographic
medium to become more tolerable.
The image appears as evanescent as a ghost, like the imprint of his source in our memories. Nevertheless its
power is still there, in this intimate transcription of a tale of such brutality that makes the eye look away. Despite being physically close to the work, the viewer is yet kept far from the harsh reality: it is precisely this gap between
the signified and and the signifier, that has been emphasized here.
Touching an aesthetic of the disappearance, the works of Léa Belooussovitch question our attitude towards
highlighting the vulnerability of a peculiar moment and witnessing the artist’s humanity.
Joseph Beuys had used the felt as a material symbolizing safety and refuge. For Léa, the choice of this textile that isolates from cold and noise, recalling the envelopment of survival blankets, serves the purpose of the work: it suggests an empathy of the artist with his subjects as if she was carried by an instinct of protection.