Born in Hauts de France in 1960, Kacha Legrand lives and works in Normandy. A graduate of the Rouen School of Fine Arts, she has been teaching at the National School of Architecture of Normandy since 2009. Her work is exhibited in museums, art centers and art venues, galleries, Frac (Abbaye de Coat Malouan Kerpert 2024, Château-musée Louis Philippe Eu 2023, Orangerie de Sucy en Brie 2023, Rouen Museum of Fine Arts, Le Secq des Tournelles Museum Rouen 2022, Ziem Museum Martigues 2012, 2010, Muma Le Havre 1993, 2004, Galerie Duchamp Yvetôt 2014, 2023, Centre d’art l’H du Siège Valenciennes 2016, l’Art dans les Chapelles 2019, Galerie Fournier Paris 2014, Galerie Jordan Seydoux Berlin 2013, 2015, Frac Normandie Rouen 2003, 2018, 2019, his work is part of the collection of the Frac Normandie and the Carré d’Art Nîmes).
Her research work is a vast laboratory made up of evolving factories that are organized around the notion of typologies of forms. The "window" typology has been one of the driving elements of her approach since the beginning of her studies. She sets up an installation work that integrates volumes, drawings, photographs and collages, with paper as a reference medium, being very sensitive to the question of surface and transparency. From 1998 to 2010 she uses video where she relates natural elements (water, air, stones, trees, flowers) in a complex relationship to space and movement.
Fascinated by architecture, she uses it as a springboard for the exploration of forms. Building and grouping elements of the same typology, in modular collections, is at the heart of her creative process as if it were a question of reconstituting the body, each time different, from a fragmented whole.
She chooses to build volumes according to her own principles of sampling and assembly: its development is based on the idea of a path through different mediums that play the role of preparatory stages like a series of collages or a drawn “inventory of forms”, based on architectural elements, extracted from their context. She brings these drawn elements to mutate into sculpture, through a change of scale, materiality and color. The “Archives of a place” protocol that she sets up, allows her to operate a displacement and circulation of forms, in connection with heritage. These artifacts embody a second generation of forms.
His installations stage “timeless” spaces where sculptures whose minimal achromia suggests an immobility conducive to the sensory experimentation of silence, light and space coexist. His installations question our relationship “to stripping down” in the creation of spaces for contemplation, constructed from elements assembled in achrome and silent conformation. The feeling of calm, serenity, even unity that seems to envelop these installations is embodied in the play of the material itself (each sculpture being a recomposed set of several stacked layers, covered with a white film). Light occupies an essential place, it participates in the very radiance of the sculptures, their impact, their white emanation in stopped movement, and suspended time.
