Lefebvre’s practice draws together objects from a vast array of countries, histories, and cultures in a Duchamp-esque assemblage that celebrates humanities commonalities. His sculptures are usually produced individually, rather than in series, and always combine three disparate elements – inspired by the trinity within the Ancient Egyptian cross of life or the ânkh.
Representing the Figure
In 2015, Lefebvre’s sculptures were included in the group exhibition Representing the Figure at White Space Gallery, London, which brought together an eclectic group of artists to demonstrate what it means to represent the figure and, by extension, the self. His selection sought to create an ‘anthropological’ view of the figure, combining allegory with anthropomorphism. Le Cheval (2016) combines the body of a horse with a large metal hoop, equating the creature with an Egyptian life-giving symbol, a process of juxtaposition that became a central aspect of his practice.
Don’t Forget Me Mama Africa
For Paris Art Fair 2017, which brought African art to the fore, Lefebvre produced a series of sculptures that combined neon and corrugated iron, along with his trademark tripartite assemblages. The neon works represent one of the few series produced by the artist, creating five copies of the ânkh to complement his ready-mades. Lefebvre’s booth was staged in a manner that replicated a cabinet of curiosities, inspired by a wall in André Breton’s studio.
À quatre mains
Beginning in 2019, Lefebvre collaborated with photographer Sara Imloul to produce the exhibition À quatre mains for Galerie 127, Marrakech. Lefebvre created his sculptures within the studio at Galerie 127 with found objects from the western Morocan city of Essaouira. Imloul then photographed them in calotype to imbue the ancient objects with the sepia tone of a similarly antiquated process. The resulting images appeared aged, creating a contemporary archive ‘where time and space no longer have borders.’
