HOTELS & BOUTIQUES
— Commissioned by Misa Poggi, the architect for Loro Piana’s new flagship boutique in Paris, Pierre Bonnefille explored possible relations between his unique materials and the precious textile creations from Loro Piana.
From this new exploratory research, under the eye and the hand of the artist, resulted a geometric mural composition enveloping the principal staircase of this typical Parisian building. This unique creation, handmade directly onto the walls harmonizes with the metalwork’s slender curve already present in the building. Thus, the architecture becomes the framework of this graphic creation.
Conceived as a mural monotype with its unique stamping techniques, the composition articulates itself through the superposition of layers, colors and materials, an assembly of fossilized textile traces vibrating and subtely shaded.
GENEVA, 2013 / PARIS, 2015 /
— Commissioned by Bruno Moinard and Cartier’s heritage director Pierre Bonnefille was inspired by the fine engraving observed on Cartier’s timepieces. In response he developed a creation in resonance with the brand’s universe, for Cartier’s main boutiques.
By reinterpreting the ‘Guilloché’ technique, an engraving technique specific to the watchmaking industry which is a method of decorating watch surfaces, Pierre Bonnefille elaborated a mineral material harrowed with a specific tool created for the occasion and adapted it to the composition’s scale. The material has then been gilded with silver in a unique technique.
Complementing the entire staircase of the boutique, are panels that form a geometric mural with a unique composition with light as the fundamental element. The light, by playing with the material and the incidence of the ridges, creates a constant vibration and mutation of the colors.
THE CONNAUGHT BAR
PORTO-VECCHIO CORSE, 2006
— Pierre Bonnefille realized two artworks inspired by its Corsican surroundings.
The first one is a horizontal mural composition, a calligraphy inspired by Corsican legends, composed with original texts fragmented and overlapped, appearing and disappearing as traces on the sand washed by the sea. By playing with the graphics associated with writing, Pierre Bonnefille superimposes projected phrases on the material’s surface in an indistinct and repetitive manner. Engraved on mass and then painted on the gray surface, the inscribed text is repeated infinitely, like a refrain, a poem, a prayer.
The second artwork is a monumental composition facing the sea, 6 meters by 9 meters, this time vertical. Realized one year after the first, it symbolizes an assembly of fragments of sea and littorals. Pierre Bonnefille engraved onto the surface of lost sailors seeking their ways to Casadelmar