Fleur Nabert started to sculpt clay at the age of 15. After the revelation of this material which became her prefered one in the golden light of a Southern France studio, she discovered the power of bronze at the Antoine Bourdelle Museum in Paris. In 1996, now aged 16, she cast a first bust of Beethoven after Bourdelle at the Landowski Foundry in Paris. Since that day, her works have multiplied: first inspired by litterature and mythology, she then became dedicated to expressing her spiritual quest.
Her attraction to sacred and monumental art is revealed today by many projects in medieval to 19th century churches – e.g., facade and transept stained glasses in the 16th century Blérancourt, Picardy Renaissance church that miraculously survived World Ward II bombings- or contemporary projects in 20th and 21th century modern churches – e.g., the entire choir of Saint Adrian in La Defense, Paris.
Each creation has its own singularities. In Schiltigheim, Alsace, France, a monumental Christ had to dwell in front of a powerful XXth century organ. The bronze sacred sculpture has been suspended in front of the wooden masterpiece, with matching colors, which provides visual unity and harmony, yet makes the musical instrument faint into the holy presence.
In St. Adrian, a risen Christ adorned with gold leaves radiates its presence on a Wall of Glory above the tabernacle.
In Lisieux, every aspect of the chapel Our Lady of the Smile, from top to bottom, has been taking care of by the artist to create an intimate space with Therese Martin and make one discover her “little way”, made of humility and love. The chapel contains a sculpture of the Saint when she was a teenager before entering the Carmel, with open arms toward the choir, a golden ribbon in the shape of the Virgin with at its heart a glowing tabernacle, a white patina bronze altar carved with her famous words “Merciful Love ” and other furniture.
« The whole law of human existence consists of making it possible for man to bow down before what is infinitely great. If man were to be deprived of the infinitely great, he would refuse to go on living, and die of despair. Man needs the unlimited and infinite as well as the small planet where he lives. » Fedor Dostoievski