Her creative process begins with an instinctive and experimental investigation in search of materials, both industrial and natural. These materials serve as a vehicle to explore the perception and experience of the material world around us. This research provides the foundation for the creation of her sculptural works and installations. Her choice of materials is closely linked to the encounters he has with them when he discovers them. Her inspiration is often sparked by eye contact with materials found in different places, which can range from streets, hardware stores, flea markets, florists, forests, mountains, or beaches. What attracts her attention is the strangeness or banality of these materials, as she loves to contrast them to create extreme effects. She views each material as potentially noble and considers hybridization crucial.
Initially, she carefully observes and manipulates materials to better understand their characteristics, especially in terms of their flexibility, transparency, and reaction to light. Underlying this practice is the belief that discovering something also reveals the best way to appreciate it. Over time, these materials become familiar and are integrated into her artistic vocabulary and conceptual repertoire, eventually finding their place in space. Her sculptural vision focuses on the power of the presence of three-dimensional forms in specific contexts. Therefore, the architecture of the spaces in which he exhibits plays a fundamental role in her creative process. She absorbs and reinterprets architecture in the same way she interacts with her materials. Her sculptures and installations adapt to the characteristics of each space, such as ceiling height, window openings, light, wall angles, and room sizes, creating a harmonious fusion. In this process, materials not only come to life because of their surroundings, but also because the environment itself is transformed by them. Her intervention aims to shape forms through the void and to materialize the void itself. While facing challenges related to the large format, her main goal is to emphasize the peculiarities of each place and create a synergy with it, rather than imposing her artistic vision.
Léa Dumayet’s works have been featured at several exhibitions, notably in Paris: Galerie Chloé Salgado 2019; Galerie La Forest Divonne 2018; Galerie CROUS (solo exhibition 2015, then collective 2019); Galerie Un-spaced 2017; Galerie Perrotin, 2016; Galerie Arondit 2018; Galerie Laure Roynette, 2019; Galerie Bertrand Grimont, 2017; Villa Belleville, 2019, Tignous Contemporary Art Center, 2021. Also in France, as part of group exhibitions at the Center d’Art Contemporain de Saint-Restitut, 2016; at La Maison des Arts de Bages, 2019; and on the occasion of Biennials at the Caillebotte Property in Yerres, 2016; at the Musée d’Issy-les-Moulineaux, 2017; at the CRAC Champigny, 2018; as well as the Tignous Contemporary Art Center, 2021.
She has been in residence at the Escola de Artes Visuais do Parque Lage in Rio de Janeiro Brazil, in 2013; at the Residence Pollen in Monflanquin in France, 2016; for the Land-Art project in Obonjan in Croatia, 2017; and most recently at La Via Farini and Fonderia Battaglia in Milan, Italy, 2019-2020.
Léa Dumayet’s work has also traveled to London for the Ghost exhibition at Guest Project Space, 2018; at the Jefferson Market Library in New York, 2018); at the Aegina Museum in Greece, 2015.
Her studio Le Midi, in Montreuil, received the Hatvany Prize, in 2017.
She graduated from Beaux-Arts in Paris in 2014.