Elizabeth Garouste, 'The Story Teller'

When the Avant-Scène Gallery opened in 1986, Elizabeth Garouste was one of the whimsical baroque artists Elisabeth Delacarte had always wanted to promote in her Gallery.

At that time, Elizabeth Garouste was already considered one of the leading figures of the Decorative Arts renewal in the 1980s.

Twenty years later, and in keeping with her privileged relationship with Elizabeth Delacarte, Elizabeth Garouste returned to the  Avant-Scène gallery in 2007 to  reveal to the public how her personal creative environment had evolved.

Elizabeth Garouste is redefining her decorative vocabulary where the essence of her baroque style is serenely blossoming with grace and imagination. This is a baroque to be understood as a permanent play on the possibilities of forms and matter.

Inspired by nature, her creations are vegetal or mineral fantasies, straight out of a fairy's hideaway, where the lamps might be booby-traps for fireflies.

The refusal of symmetry gives the objects an organic aspect, as though tortured by the elements. The subtle magic of the colors, the platinums, the golds, the bronzes and the glosses resonate with the expressionism of the forms. The result is singular, and necessarily rare, each object being produced in very limited editions.

With each inevitable mutation the artist experiences at the contact of a new material she discovers,  the Avant-Scène Gallery presents the iconic creations of Elizabeth Garouste. A life journey of beauty marked by wondrous works of art.

> ELIZABETH GAROUSTE'S BIOGRAPHY

Elizabeth Garouste’s personality can be defined by the intimate association of spirit and heart with design and art. She studied at the Camondo School of Architecture and Design in Paris where she met her future husband, artist Gérard Garouste.

The year 1980 saw director Jean-Michel Ribes ask Elizabeth to design the set and costumes for a play presented at the Rond Point Theatre in Paris. The same year, club owner Fabrice Emaer called on the Garouste couple to create the decor of Privilège, the restaurant inside the Palace Theatre, with Elizabeth to handle the furniture and Gérard, the murals.

Everyone today is aware of the stunning success of the space which has become an iconic fixture of Parisian life. While Gérard Garouste would dedicate himself to painting, the designer found herself at the helm of “The Barbarians”, a counter movement opposing the prevailing “all industrial” tenet. Elizabeth would reconnect with materials long neglected such as bronze and iron, expressing the lyricism of baroque or the whimsy of children. Thus, art entered the realm of furniture.

Working as a duo with Mattia Bonetti, their works were characterized by the freedom their artisan approach allowed. They immediately gained the support of notable galleries such as Neotu in New York, Shiseido in Tokyo, David Gill in London and Avant-Scène in Paris.

As their one-of pieces became accessible to art furniture lovers, they were also assigned a succession of private design projects such as the haute couture House of Christian Lacroix, the residence of HSH the Princess Von Thurn und Taxis in the Regensburg Palace and the Château de Boisgeloup for Bernard Picasso.

Assignments kept coming in for the duo with no two of them alike: consumer projects for Nina Ricci cosmetics, the renewal of the Ricard carafe and the City of Montpellier’s tramway cars ; institutional commission with a desk and a waiting room for the Prime Minister.  Museums soon acquired their creations now icons of the times: the George-Pompidou Centre, the Decorative Arts Museums of Bordeaux and Paris, the Victoria & Albert Museum of London as well as the Venice Art Biennale.

Since 2002, Elizabeth Garouste has juggled with the design of furniture, architectural design projects for clients such as Christian Louboutin and purely artistic creations. Having opted to work alone, she has given all latitude to her imagination in areas she had barely tackled until then,  namely sculpture and drawing.

No doubt her commitment alongside husband Gérard Garouste to the La Source foundation has been a major deciding factor.  Indeed, since 1991 facing the distress of rural youth, the couple founded La Source to prevent the exclusion of children in need by developing their creative and artistic abilities.  The art of Elizabeth Garouste echoes the needs of our times: Art of Communication, Art of Liberation and Art of Salvation.

La Source, non-profit social and cultural foundation http://www.associationlasource.fr/

Elizabeth Garouste in eight dates:

1980: Interior design of Privilège, the Palace Theatre restaurant, with Gérard Garouste.
1986: First collaboration with the Avant-Scène Gallery
1987: Interior design of haute couture House of Christian Lacroix as well as the graphic design of its logo.
1991: Creation of the non-profit La Source foundation with Gérard Garouste
1992: Design for a line of cosmetics and perfume for Nina Ricci
2007: Solo exhibition at the Avant-Scène Gallery:   La nouvelle histoire – The New Story
2009: Furniture design for the Christian Louboutin boutiques in Paris and Moscow
2013: Solo exhibition at the Avant-Scène Gallery:   Univers onirique – Dream World


> ELIZABETH GAROUSTE'S PRESS REVIEW

Contemporain sept - nov 2007

Elizabeth Garouste : Le retour de la fée barbare par Julien morel

"Après six d'absence, Elizabeth Garouste revient sur la scène artistique parisienne avec deux expositions où elle présente ses nouvelles créations." ...

> Read the press article (pdf)...

 

Maison Française octobre 2007

Une femme sous influences par Christiane Germain

"Elizabeth Garouste est évidemment là où on ne l'attend pas. Son imagination et son pouvoir de création sont infinis." ...

> Read the press article (pdf)...

 

Elle Décoration - octobre 2007

Elizabeth Garouste Le retour par Edith Pauly

Deux importantes galeries parisiennes vouées aux meubles de créateurs s'associent pour présenter les nouveautés d'Elizabeth Garouste. Agnès Belebeau, de la galerie En Attendant les Barbares, exposera les oeuvres de petite taille en bronze, tandis qu'Elisabeth Delacarte se réserve, chez Avant-Scène, des pièces imposantes en bronze, fer battu, céramique.