Exhibition, Malaspina

Exhibition, Malaspina

An apprenticeship
with renowned artists from the region

From an early age, Henri Beaufour held the deep conviction that he would be a sculptor.

Having studied Arts and Sciences in the United States, he returned to France, still untamed, and readied himself in 1988 for the profession of sculptor with Franscesco Marino di Teana, perfecting his draughtmanship with him in Italy by 1990. That same year, he worked at a boilermaker’s in Houdan, France, to learn welding; then in a foundry in the French region of Sarthe; and also at the Soldani workshop in Italy, until 1991. At that time, the young man moved to Pietrasanta, Italy, where he met and lived with local sculptors, including Gigi Guadagnucci, whom he acknowledged as a master. With him, he would go on to learn the ancestral movements of marble carving, practised here since the Bronze Age.

Henri Beaufour fulfilled his vocation, and he became a sculptor.

An explorer

Sculptor that he is, his movements are precise, decisive, and always marked by the urgency of completion.

The artist experiments with other mediums, other ways, and the volume he imbues his creations with is unique. He paints pictures, plates, carves marble directly from this point forwards, models, draws, engraves, and makes ceramics. He builds on what has already been done and reinvents it.

If we find in his works various forms inherited as much from antiquity, the Renaissance, and the Baroque as from the currents of the 19th and 20th centuries, they are revealed here using the artist’s own vocabulary, his touch, his genius; he creates a new language. The marble is never smoothed again; he cuts it directly as he would draw on paper, transcending painting techniques, mixing colours on raw canvases, premeditating nothing, neither the subject nor the experience. He always goes straight to the essential, thus giving his creations a particular density.

The Carrara region,
Henri’s inner circle

The artist acknowledges the craftsmen with whom he works. ‘An artist’s work is like a film; everyone must be quoted at every stage of the production.’

He has complete confidence in their skills, even encouraging them to be creative, to come up with solutions, colours, materials, and in particular the mosaic that is often encountered in his house.

And he represents the figures who have influenced him, such as Gigi Guadagnucci, his painter and sculptor friend of 30 years; Vito Tongiani; Aldo Galleni, who creates his etchings; Simone Ramagini, with whom he has worked for almost 10 years; and so many others.