Sculptor

Thomas Lévy has been involved in the visual arts since a  very early age. Showing great freedom in the techniques he uses and the subjects he tackles, he structures the whole of his work around fleeting moments in life; these snapshots build his creative universe.

At the age of 20, having already mastered freehand drawing, he studied at the Beaux-Arts de la Ville de Paris. He remained there for five years. It was here that he perfected his work on color and the structure of his compositions. He practiced academic drawing, then painting from live models. The transition from charcoal to acrylic, from antiques in the Louvre to the imperfect bodies of models in the studio, enabled him to develop his own codes. He acquired a personal palette and graphic identity that he continues to enrich. After acrylics, he began oil painting in his Paris studio. This new medium enabled him to deepen his treatment of color and transparency. Gradually, he alternated between figurative and abstract. He is influenced by the masters he has discovered over the years, such as Bram van Velde, Joan Mitchel and photographer Rudy Burckhardt. He continues to draw inspiration from his many trips to Europe and New York.

Thomas Lévy’s ambition has always been to put sculpture at the service of his creativity. This is what he does today in the Beaux Arts de la Ville de Paris workshops and in his Paris studio. The tension of curves, the naturalness of forms and volumes that seem to respond to each other are all present. The graphism of her paintings finds a new dimension in her sculptures. The monochrome of the object gives way to the play of volumes and shadows, a logical translation of his universe. For Thomas Lévy, the arrival of sculpture is a new stage in his artistic journey, a path he began nearly forty years ago. It’s a question of maturity, of letting go. All of which no doubt explains why Thomas Lévy now approaches sculpture as a matter of course.

“The three-dimensional approach gives me total freedom. I always work standing up. I’m always on my feet, turning around my piece as I rotate the harness. As with painting, I need to stand back. I want to understand how light plays with shapes and validate the shadows that emerge.

The rhythm of volumes and their superimposition are essential. It’s a delicate and fascinating point. It requires a global apprehension of the piece, from different heights and from all angles. It’s a real piece of research, and a little dizzying at first.” – Thomas Lévy