MAFAEL launches JUN’Art, limited editions of JUNO bed undersides customized by artists. The first collaboration is with contemporary artist Lady M, who plays with shapes and perspectives in a collection titled “Space.”
Interview with Lady M
MAFAEL reaches out to you, and you both share this “M” in common…
Yes, indeed, that was the starting point. For me, this “M” meant collaboration! There are signs in life, and this was one of them.It was obvious that we should move forward on this project together.
The “M” is for me a positive letter, symbolizing a quest for self. You ascend on the lines, keep going up… I see the “M” in its ascent and not in its lows. I also chose this letter because it’s the first phonetic sound of “Emilie” (Editor’s note: the artist’s name is Emilie Sajot). When I developed my personal work, I wanted a name that sounded like the start of a new cycle. I’m not hiding who I was before. This “M” is a birth, and I’m happy to share this positive energy with MAFAEL.
What was your first thought when MAFAEL proposed customizing the JUNO ceiling bed?
My first thought! I immediately found it interesting to bring an artistic touch to furniture. I had never worked on furniture before; it’s a different support, another dimension. It was a new challenge. And, I was not familiar with the ceiling bed concept. I found it amazing, this bed that goes up and adds more space to a small room. It clearly aligns with my artistic research around the notion of space.
What do you hope to convey through your work “Space” for JUN’Art?
I immediately imagined myself as the owner of the JUN’Art bed.
I wanted to create a sensation of openness and space that allows for escape while playing with organic shades that blend with the furniture. I wanted to bring an opening into the small space where the JUN’Art bed will be. I used blue, a color that calms me and evokes the sky. I wanted to play with the elements, blue for water and air, and cream shades for wood, the earth.
And the result?
Ah, I love it! One is always intrigued before seeing the final result. When you enter the room, you have a strong point of view while staying in a natural universe. That’s what I wanted to convey. I find it great to think that people will put art in their homes in a playful and original way.
Is this your first collaboration with a brand?
Recently, I worked on a bicycle, so it was limited in terms of surface, and it worked out. In May 2019, I worked on a 150 square meter mural! I struggle to paint on too small formats; I thrive on walls. My work is a work of space, I need dimension, I must be able to express myself freely.
How does someone as petite as you manage to create a 150 m2 work? Can you tell us about this project, how did you approach it?
It was a project for Le Clos du Chêne, a shopping center in Val de Marne. A dozen artists (Editor’s note: alongside Vinnie, Akhine, or Speedy Graphito…) were invited to take over the facades of the center. I immediately accepted, I need to surpass myself, it’s a real driver.
Of course, there was preliminary work to create the shapes, and I formed a team. You need to know how to surround yourself. The gestures are so large, and you need a helping hand between operating the lift, tracing with lines, painting… It was a great project because it is not elitist, art becomes accessible to all.
Before that, you went on a residency in the United States…
Yes, I had the opportunity to go to Miami with a French gallerist based there, Fabien Castanier. There’s an incredible artistic effervescence with fairs like Art Basel. I was in residence with artists from all over the world; it’s a unique moment of exchange and sharing. It’s also a time when I put my social life on hold, which allows entering a form of introspection and facing oneself. That’s where I started the project on space.
What was your highlight there?
I participated in a group exhibition, and my gallerist proposed me to compose the first piece of the expo. It was unexpected; I had free rein from floor to ceiling. It was my first installation, and I wanted the public to feel totally immersed in my creation. I actually experienced this immersion by entering at the same time as the visitors. That was cool, they immediately got on board.
I brought the canvases to life in the space while creating a sort of anamorphosis, I extended my canvases onto the walls, the floor, the ceiling with infinite motifs and lines… I also had a blast with the materials and colors by exploring metallic textures, bright red, yellow, cerulean blue…
About materials and textures, it feels like they are an integral part of your creation, is it a constant quest?
Material is clearly anchored in my work. For 12 years, I worked as a painter and restorer in opera and theater decor, learning all the techniques of materials, textures, and patinas. I compare material to cooking recipes.
In the United States, I had time to search for new materials while using techniques I knew. I had a rust recipe that I wanted to adapt to the Lady M recipe by combining it with pigments to obtain a wash, a glaze unique to my work. It also requires respecting drying time; it’s layers upon layers. It takes time before achieving the expected result. Therefore, I often work on two artworks simultaneously, switching from sketch to painting.
Any last thoughts before we part?
I want to convey my dynamism, my joy. The goal of my creation is to transmit my energy and share a certain therapy of color.
