“The daughter of a cabinetmaker carpenter [Lysiane] spent [her] childhood surrounded by creations.” Fascinated, she observed her father working to transform pieces of wood into all sorts of objects; then she collected the offcuts to create her own assemblies too. Drawing and writing poems were also part of her daily activities. Although she was deeply inhabited by everything making up the artistic world, Lysiane was initially forced to turn towards a diametrically opposed path in order to dispel parental worries. Alongside professional affairs, she carried out research and was a keen visitor of museums and exhibitions, as well as different local artists’ workshops – first Charles Krayemoff, who passed on his passion for painting to her, then the surrealist painter Christiane Sibille and she would learn abstract art by following the teachings of the German artist Rolf Viva.
Lysiane’s pictorial approach is entirely oriented towards the love that she holds for her kind and the relationship between human beings. Her works, produced either from oils or acrylics or sometimes even a mix of both, oscillate between figuration and abstraction. The background is generally blurred to make the character(s) in the foreground stand out more: particular attention is paid to the treatment of bodies and faces, mainly female.
The Alsatian painter seeks with each of her canvases to transmit the emotion that emerges from an encounter, an event. The use of blurriness is for the artist a will to induce gentleness in her works: light itself is a synonym for hope. Her canvases claim to be the permanent and colourful transcription of fleeting happiness.