About "Vanity with corollas" and "Vanity with plants of feet" presented and acquired by the Museum of Ceramics of Rouen, March 2006

Christine Germain-Donnat (Curator in charge of the ceramics museum in Rouen) # 01/2006

Germain-Donnat (Curator in charge of the ceramics museum in Rouen) January 2006
Made in faience, especially for Ceramic Fiction, Vanity with corollas and Vanity with plants of feet remind us of the luxuriance and the strangeness of the works of Bernard Palissy. Covered with shimmering enamel, the profuse flora that invades the basins hides symbols of death. A skull arises from the corollas of a carnivorous plant and toises the visitor. Feet like trophies torn from the enemy or sad spoils, lie abandoned in the midst of currants and snails. Of an undeniable seduction, the two works of Valerie Delarue renew with talent, the art of the memento mori. Exposed among the ceramic dishes of the eighteenth century, sublime testimonies of a past fortune, these vanities evoke with accuracy the seductive materiality of things and their inevitable degradation.

Text about the exhibition "Falls and metamorphoses" Mars 2006

Fédéric Bodet # 06/2001

Valérie Delarue describes the forests saturated with moist violence, the algae from the depths to the rapid crawl. Its spaces of painting seem to be invaded by proliferating materials. She mastered the expanding forms, seizing the opportune moment of their hallucinatory power. Its inspiration metamorphoses, retracts: it brutally slips away the real towards sensations and unknown places. Its environments are as biological as symbolic, as much aquatic sites as regions of the heart. An art of gesture and tranquility that falls on horror as well as beauty, relying on the mysterious mutation of beings and things. A great mental fiction in short, which one observes with intimacy mingled with fright, for all the biology of human desire and temptations is found there transposed.

Text about the exhibition "carte blanche 1994" at the Cultural center of Boulogne-Billancourt, july 1994

Georges Jeanclos-Mosse # 07/1994

In the bas-reliefs of Valérie DELARUE, the foliage from Poussin's canvasses blossomed like morels on an earthen sky. The light slips into the ocher grove and spreads out on an architecture where columns of clay support pediments. It is wonderful to find the echo of the paintings of Patinir and the romanesque landscapes! And then, too, the strata with the sliced ​​flesh make us penetrate inside the field, under exuberant landscapes. It took an extreme skill in which the thumb and forefinger, the mirette and the sketch have left their mark. But it is above all the needle that is added to the tools of the modeler: the forms, pierced from the inside, flourish like sponges or corals pushed in the seabed.  The works presented at the Cultural Center of Boulogne-Billancourt make discover a young artist of exception! The dialogue that it makes possible between painting, sculpture and nature is a delight. Painting takes possession of space in a miniaturized world. Valerie Delarue shows that, always, something unknown and delectable can arise from the earth.

Text about the exhibition "Etudes d'après Poussin", Galerie France T, Paris 8e, 1992

Georges Jeanclos-Mosse # 02/1992

In an exemplary work, where the workshop and the school find their full justification, Valerie DELARUE affirms, in a plastic adventure that takes as medium medium and oxides, drawing and pastel. His work after Poussin, followed by studies after Patinir, give the copy to the honor. This is, of course, a very free translation, in which the elected teacher becomes a guide and confirms, for example, the work of the young artist. Its terracotta landscapes throw a bridge between painting and sculpture. They do not give way to more modern projects. This patient study leads to the invention. We really penetrate under the shade of Focion's ashes. The drawings and pastels of the Seasons answer the volutes of the temple of Bayon. They make us enter the object we look at, follow a path that reveals unsuspected beauties.

I have, for my delight, seen these earthworks and delicate pastels hatched throughout the weeks. They have often been for me a surprise and comfort in the life of the workshop.