A modern feather master.
Julien Vermeulen has chosen feathers to express his art. Such a fragile and delicate material is shaped in his hands, creating artworks of strong visual impact, from giant walls to very fine details. The feathers’ hininess, movement, symbolism and freedom are captured becoming eternal, crystallized in unique works.
Where do you source the feathers for creating your artwork?
“We work with European suppliers in the costume industry and since 2018 we’ve been working with the support of the Bettencourt Schueller Foundation to establish a collection and processing system for feathers of French origin. By mid-2024 we’ll be able to source feathers from farms in France. The feathers used are a by-product of the food industry”.
What kind of feathers do you use, and which are the best to work with?
“I work with a variety of feathers: peacock, ostrich, goose and pheasant. Each type brings unique qualities, contributing to the diverse textures and effects in my artworks. I meticulously select the feathers for their individual characteristics, identifying natural imperfections to create “a harmony of defects”.
Your source of inspiration seems to come from modern art. Are your works generally abstract or do you also focus on particular subjects? If so, do you have any favourite subject to represent?
“My inspiration is rooted in modern art, drawing from Kasimir Malevitch, Mark Rothko, Yves Klein, Lucio Fontana and Pierre Soulages. Where my creations lean towards abstraction and maintain a monochromatic palette, I prioritize texture over a defined subject. Experimenting with the interplay of light, shadow and density, I use feathers as a medium that captures movement and radiance, transcending the boundaries of traditional representation in each piece. On the other hand, I have a series of “Pixel Art” where the feather produces more defined subjects: I cut feathers into geometric square shapes and I meticulously assemble them into iconic and contemporary figures such as my work depicting the “Storm Trooper”.
Which piece are you most connected to or proud of, and why?
“The “Black Gem” goose and pheasant feather wall panel, which became a distinguished addition to the Musée des Arts Décoratifs in Paris in 2021, and the Eden console, acquired by the Mobilier National Museum in 2022. The recognition of my works finding a place in public collections marks standout moments in my artistic journey and gives me a deep sense of accomplishment and pride”.
In your creative and productive process, you use ancient and manual tools. Is this a choice to preserve tradition, or have you tried modern tools and prefer the older ones?
“I tend towards ancient, manual tools such as scissors, trimming and curling knife, tweezers, and a steam machine dating from the Napoleonic era. In our craft, there are no modern tools as the primary instrument remains the skilled hand”.
How long does it take to create one of your pieces?
“The time depends on several factors, such as the intricacy, scale, and shape of the work. Among my larger works there’s “Black Ocean”, which required 1,000 working hours, 15 days and a team of 12 individuals assisting me”.
What are your smallest and biggest artworks?
“Black Ocean” is one of my larger creations, a monumental 20 m2 wall consisting of 12’000 hand-cut turkey feathers which was designed for the Toguna space at the Palais de Tokyo in Paris in 2017. As for the mallest, I also venture into horology, working on watch dial backgrounds, which rarely exceed 3 cm in diameter”.
Do you work on multiple projects at the same time, or do you focus on just one?
“I often participate in collaborative ventures with prestigious fashion and jewelry houses, as well as esteemed institutions like the Lido and the Comédie Française. This dynamic approach requires me to work on a diverse array of projects concurrently”.
Your works are usually monochrome or a combination of black, red, and white. Is this a choice depending on the kind of feathers you use (for example, using natural feathers to avoid the dyeing process), or do you particularly like those colours?
“The predominant monochrome palette of black, red, and white tones is a deliberate choice, a conscious decision that aligns with my emphasis on capturing movement and radiance within my art. The commitment to a monochromatic aesthetic is crucial in enhancing these elements and has become a distinctive signature that significantly contributes to the visual impact of my creations”.
When did you decide to open your own studio?
“As soon as I obtained my feather artist diploma, I wanted to be free. So, it was only natural for me to take the leap and open my studio at 23”.
Do you teach the art of working with feathers?
“Occasionally, I give masterclasses in design schools, but I prefer to have time with my students. Extended learning or a long internship is more beneficial than a few scattered hours of classes. Teaching a skill is very challenging; learning is more about the body and reflexes rather than the mind and consciousness. One must repeat these actions until the hands can perform them without the need for conscious thought, almost with closed eyes”.
Are there any future projects you would like to share with us?
“My most recent project, “Black Argos”, was created especially for maison parisienne’s 15th-anniversary exhibition, which will take place at the MAD Museum (Musée des Arts Décoratifs) in Paris in April 2024. This piece showcases spiral marquetry of peacock feathers set against a background of black turkey feathers. It aims to convey the concept of a new universe, reminiscent of a glimmer of life in an infinite world. At the heart a watchful blue eye gazes upon us as much as it protects and guides us. Surrounding it, concentric black rings symbolize connection and unity”.
Julien Vermeulen has been represented by the gallery ‘Maison Parisienne’ since 2020.
Photos ©Antoine Lippens
