More than a confirmation, it is a consecration for the contemporary painter who signs his second church (first church) in this spring 2022. After having created in 2020, for the first time in France, a 600m2 fresc covering the entire vault of the Sainte-Madeleine church in Châtelaillon-Plage, Amaury Dubois
renews the feat in the Saint-Pierre church in Calais.
With this second monumental work, Amaury Dubois confirms his status as a renowned artist and at the same time, his place in the very closed circle of artists who have produced such works alongside Picasso or Matisse.
The artist’s second church
If Amaury Dubois was chosen by the parish to decorate its church, it is not by chance. « Amaury Dubois is well known, he has already worked in a church, and it is the luminous and warm atmosphere that we wanted for our church » confides Father Pierre Poidevin. In fact, this is not the first time the artist has done this, as he spent two months in the spring of 2020 painting the entire church in Châtelaillon-Plage, near La Rochelle. A fresco that made the rounds of the world’s medias and entered the top 10 of the most beautiful works of street art in the world in the Best of Street Art by the Italian magazine Collateral. This time, it is Saint-Pierre de Calais, which, 11 hours a day, for 2 weeks, was the playground of the French artist, who was able to give free rein to his imagination.
Making the church lively and welcoming
It was following a survey of the faithfuls that the idea began to germinate in the mind of Father Pierre Poidevin. « We asked our parishioners what their dream church would look like. The answer was clear: a more welcoming church. » In parallel to this survey, the Calais street art festival. The name of
Amaury Dubois came naturally: his shimmering colours and generous curves at the entrance of the church would be the right way to invite passers-by to come inside.
A celestial vault, connection between the real and the spiritual
At Saint-Pierre de Calais, Amaury Dubois focused on the narthex: the intermediate space between the forecourt and the nave, the place of transition and passage between the outside and the inside of the church, between the profane and the spiritual worlds.
Playing with the lights, crossing the stained glass windows and the curves of the hall’s architecture, the artist’s coloured and luminous curves take the spectator irresistibly towards the sky, where a meeting point appears. The white light emanating from the church joins the multitude of colours. of the outside world and gives a glimpse of a path. At this point, one leaves behind the emotions of everyday life, represented by the colours, and moves towards a pure white light, as an invitation to refocus on oneself. The narthex appears as a door to another, more peaceful state, a welcome break from the madness of everyday life.
“When you walk through the door of a church, whether you are a believer or not, you are always looking for something. I wanted to symbolise the change of state, the metamorphosis that takes place when you enter this monument, while remaining accessible to everyone. It was important for me to remain in the abstract, so that everyone can feel things. The aim of my work is to allow everyone’s mind to reflect and enjoy.”
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