T. SavedThe former Brun d'Arre hosiery factory, once a flagship of the Cévennes textile industry since the 18th century, is today the playground and workplace of Roland and Arthur Lamon, father and sonThis imposing building offers an ideal space to showcase their creations. They share a common passion for art and scenography, a bond forged over the years through expertise and knowledge transfer. Roland, a painter, visual artist, scenographer, and also a certified restorer of French Historic Monuments and Sacred Art, possesses a wealth of experience from hundreds of projects – from theater and opera to museums and events.
Arthur follows in his father's footsteps, perfecting his art at his side before joining the Paris Opera and then returning to the Cévennes.
Together, they perpetuate a family know-how where tradition and creativity blend with passion.
Find Arthur and Roland in our South Cévennes destination magazine, Wild Encounter issue #5
Can you tell us about your career paths?
Roland: I entered the Bordeaux School of Fine Arts at the age of 16, before working for eight years as a decorative painter at the Bordeaux Opera. Then I launched my career as a freelance artist. Initially, I had a studio in Montpellier where I worked mainly in museum design, then I had the opportunity to move to the Cévennes, first to Pont d'Hérault and then more recently to Arre.
Arthur: I started working with my father at the age of 16, then in set design workshops. I quickly obtained intermittent worker status in the entertainment industry. At 20, I moved to Paris for work and was fortunate enough to work with the Paris Opera, particularly on large-scale sets. Afterwards, I decided to become self-employed to dedicate myself exclusively to creating painted canvases. My journey eventually brought me back to the Cévennes, to help my father with the work in his workshop in Arre.
What does your job consist of?
Roland: We create sets and paintings on canvas for operas, theaters, museums, and films. We can paint skies, forests, illusionistic architecture, trompe-l'oeil... We work on many different projects. I've also restored frescoes and sculptures in churches, notably those in Montdardier and Arre. I also occasionally exhibit my own creations.
Arthur: The more complex it is, the more we love the challenge! For example, in film, we worked for Wes Anderson's team on The french dispatch (2021) et asteroid city (2023) or even with Maïwenn on Jeanne duBarry (2023) and Antoine Blossier on Remi without family (2018). I made copies of paintings and even doubled for the hand of Vincent Macaigne, who played the painter Pierre Bonnard in the film Bonnard. Peter and Martha (2023). I also made copies of Vincent Van Gogh paintings for the biographical film. At Eternity's Gate in 2017, which earned us the nickname 'forgers for the movies' in our profession!
For theatre and opera, I designed sets for the Royal Opera of Versailles (Don Giovanni…) and the Paris Opera (Aida, A Midsummer Night's Dream…) as well as a reconstruction of a theatre set created by Pierre-Luc Ciceri in 1837, Marble Palace. But our profession has also led us to participate in the decoration of haute couture fashion shows for Chanel in 2013 and 2018, ready-to-wear for FENDI in 2015… And more recently for the television series The Walking Dead
What is the Academy of Painted Decoration?
Roland: This Academy is a space for knowledge transfer and training. We organize workshops and courses where we teach the fundamentals of painted decoration using a model. The goal is to simplify this model and learn how to create columns, trompe-l'œil sculptures, and other illusionistic effects. We use traditional techniques like string and charcoal to outline the designs.
Why did you choose the Cévennes for your business?
Arthur: Initially, it was a happy coincidence. An acquaintance told me that a workshop was becoming available in the old hosiery factory in Arre. Upon discovering the place, I was immediately captivated by the spaciousness. Large areas, without pillars or columns, with a huge glass roof.
What are the different stages in creating a set design?
It all begins with a meeting with the director or client. We discuss the project to understand the world they wish to recreate. Then, we present sketches and designs. Once the concept is approved, we create a scale model before moving on to the full-size version.
The final step is the delivery of the set.
Is there a project that you particularly enjoyed working on?
Arthur: Every project is unique and interesting, but some stand out more than others. The Royal Opera of Versailles, for example, with a drape on a 16-meter by 10-meter canvas for a production of Romeo and Juliet, was a thrilling challenge. But what I love most is that we've always worked with family and friends.
Another memorable project was the set design for the film Rémi sans famille. We painted directly on the film set, in just four nights, on a vertical canvas 100 meters long by 15 meters high. A colossal but exciting undertaking!
Do you have a memorable anecdote to share?
Roland: A particularly touching anecdote is the mural I created thirty years ago for the Draguignan Museum of Fine Arts. At the time, Arthur was only three years old, curious and already fascinated by the world he was growing up in! Three decades later, the museum contacted us again to create a new mural.
Once again, we took on the challenge together, as a duo!
Is your work influenced by the fact that you live in the South Cévennes?
Roland: Yes, of course! We arrived by chance, but we didn't stay by chance. It's an absolute luxury to be able to work so close to nature with the river nearby. Such an inspiring environment is ideal for our creativity.
A. Lamon
A. Lamon
A. Lamon