Anna De Leidi A constant state of poisoning (2020)

a-constant-state-of-poisoning–2021-288-x-21-cm-collage

Anna De Leidi
A constant state of poisoning (2020)
Collage and mixed media
35 x 25 cm
900 euros
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Image: Anna De Leidi

ANNA DE LEIDI

For this first collaboration between Anna De Leidi and the Loo & Lou, the Italian artist is invited to invest the walls of the Atelier with a set of collages started during the isolation of the first confinements.

Starting from an intuition, Anna De Leidi draws from a stock of various clippings, archival images and magazines to assemble them according to an artistic and personal development nourished by references to the history of art and political life – in particular the artistic avant-garde and the protest movements. The superimposed archival images accumulate layers of meaning, without denying the abstraction due to the fortuitous harmony of colors and shapes of the torn papers. Without any pre-determination, apart from that of this first intuition, the collage unfolds and composes itself to form a work embellished with an evocative title, sometimes on the borders of poetry.

The artist summarizes her research as follows: “Narrative, composition, color”.

Anna De Leidi You snooze you lose (me) (2021)

you-snooze-you-lose-me–2021-288-x-21-cm-collage

Anna De Leidi
You snooze you lose (me) (2021)
Collage
28,8 x 21 cm
760 euros
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Image: Anna De Leidi

ANNA DE LEIDI

For this first collaboration between Anna De Leidi and the Loo & Lou, the Italian artist is invited to invest the walls of the Atelier with a set of collages started during the isolation of the first confinements.

Starting from an intuition, Anna De Leidi draws from a stock of various clippings, archival images and magazines to assemble them according to an artistic and personal development nourished by references to the history of art and political life – in particular the artistic avant-garde and the protest movements. The superimposed archival images accumulate layers of meaning, without denying the abstraction due to the fortuitous harmony of colors and shapes of the torn papers. Without any pre-determination, apart from that of this first intuition, the collage unfolds and composes itself to form a work embellished with an evocative title, sometimes on the borders of poetry.

The artist summarizes her research as follows: “Narrative, composition, color”.

Anna De Leidi The queer art of failure – tra il dire et il fare (2022)

the-queer-art-of-failure-2022-288-x-21-cm-collage

Anna De Leidi
The queer art of failure - tra il dire et il fare (2022)
Collage
28,8 x 21 cm
760 euros
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Image: Anna De Leidi

ANNA DE LEIDI

For this first collaboration between Anna De Leidi and the Loo & Lou, the Italian artist is invited to invest the walls of the Atelier with a set of collages started during the isolation of the first confinements.

Starting from an intuition, Anna De Leidi draws from a stock of various clippings, archival images and magazines to assemble them according to an artistic and personal development nourished by references to the history of art and political life – in particular the artistic avant-garde and the protest movements. The superimposed archival images accumulate layers of meaning, without denying the abstraction due to the fortuitous harmony of colors and shapes of the torn papers. Without any pre-determination, apart from that of this first intuition, the collage unfolds and composes itself to form a work embellished with an evocative title, sometimes on the borders of poetry.

The artist summarizes her research as follows: “Narrative, composition, color”.

Anna De Leidi The boatbuilder (2020)

the-boatbuilder-2020-288-x-21-cm-collage

Anna De Leidi
The boatbuilder (2020)
Collage
28,8 x 21 cm
760 euros
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Image: Anna De Leidi

ANNA DE LEIDI

For this first collaboration between Anna De Leidi and the Loo & Lou, the Italian artist is invited to invest the walls of the Atelier with a set of collages started during the isolation of the first confinements.

Starting from an intuition, Anna De Leidi draws from a stock of various clippings, archival images and magazines to assemble them according to an artistic and personal development nourished by references to the history of art and political life – in particular the artistic avant-garde and the protest movements. The superimposed archival images accumulate layers of meaning, without denying the abstraction due to the fortuitous harmony of colors and shapes of the torn papers. Without any pre-determination, apart from that of this first intuition, the collage unfolds and composes itself to form a work embellished with an evocative title, sometimes on the borders of poetry.

The artist summarizes her research as follows: “Narrative, composition, color”.

Christophe Miralles Quatre saisons 4 (2022)

quatre-saisons-4-2022-papier-45-x-32-cm-cedric-le-corf

Christophe Miralles
Quatre saisons 4 (2022)
Paper
45 x 32 cm
780 euros
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CHRISTOPHE MIRALLES

Born in 1970, Christophe Miralles is a Franco-Spanish artist who lives and works between Burgundy and Casablanca.

His work is nourished by various sources that go back to its origins: from his Moroccan roots, one can note some Mediterranean influences coming from two shores, which resonate and never collide with each other. Spanish painting from the Golden Age undoubtedly sealed his relationship with light and compositions: we can see in his work the influence of figures such as Velázquez, Zurbarán or El Greco.

Human figures suspended in the void haunt his canvases inviting worrying feelings and a certain nostalgia. These are depersonalized figures, devoid of identity, which remind us of Francis Bacon’s characters. The combination of simplified forms and subtle nuances in colors allows him to give an intemporal aspect to his paintings, where the material is the main subject.
Miralles creates oil paintings on paper and canvas, and uses lacquers. He brought together a series for an exhibition at Loo & Lou Gallery entitled Territoire Unique in April 2018. His works spoke of humanity, travel, and tolerance. Colors burn through his canvases, engorging the space in flames wherein the ashes slowly fall on his large black papers. He is a painter anchored in contemporary society, a territory that he hopes is unique for all. This work was complemented and nourished by the exhibition Vertige du monde by the artist Flo Arnold, presented in collaboration at the Loo & Lou Gallery’s Atelier.

He has received several artistic prizes, such as the Grand Prix Claire Combes of the Taylor Foundation in 2007, the Prix Azart in 2005 or the Prix Charles Oulmont in 2004, which he received with honors from the jury. His work has been the subject of numerous monographic exhibitions in France and abroad and his work is included in several collections. He has also participated in several fairs, including JustMad (Madrid, Spain) with the gallery Loo & Lou in 2019, the Marrakech Biennale (Marrakech, Morocco) or Art Up (Lille, France) in 2016.

Christophe Miralles Quatre saisons 3 (2022)

quatre-saisons-3-2022-papier-45-x-32-cm-cedric-le-corf

Christophe Miralles
Quatre saisons 3 (2022)
Paper
45 x 32 cm
780 euros
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ABOUT THE ARTIST

CHRISTOPHE MIRALLES

Born in 1970, Christophe Miralles is a Franco-Spanish artist who lives and works between Burgundy and Casablanca.

His work is nourished by various sources that go back to its origins: from his Moroccan roots, one can note some Mediterranean influences coming from two shores, which resonate and never collide with each other. Spanish painting from the Golden Age undoubtedly sealed his relationship with light and compositions: we can see in his work the influence of figures such as Velázquez, Zurbarán or El Greco.

Human figures suspended in the void haunt his canvases inviting worrying feelings and a certain nostalgia. These are depersonalized figures, devoid of identity, which remind us of Francis Bacon’s characters. The combination of simplified forms and subtle nuances in colors allows him to give an intemporal aspect to his paintings, where the material is the main subject.
Miralles creates oil paintings on paper and canvas, and uses lacquers. He brought together a series for an exhibition at Loo & Lou Gallery entitled Territoire Unique in April 2018. His works spoke of humanity, travel, and tolerance. Colors burn through his canvases, engorging the space in flames wherein the ashes slowly fall on his large black papers. He is a painter anchored in contemporary society, a territory that he hopes is unique for all. This work was complemented and nourished by the exhibition Vertige du monde by the artist Flo Arnold, presented in collaboration at the Loo & Lou Gallery’s Atelier.

He has received several artistic prizes, such as the Grand Prix Claire Combes of the Taylor Foundation in 2007, the Prix Azart in 2005 or the Prix Charles Oulmont in 2004, which he received with honors from the jury. His work has been the subject of numerous monographic exhibitions in France and abroad and his work is included in several collections. He has also participated in several fairs, including JustMad (Madrid, Spain) with the gallery Loo & Lou in 2019, the Marrakech Biennale (Marrakech, Morocco) or Art Up (Lille, France) in 2016.

Christophe Miralles Quatre saisons 2 (2022)

quatre-saisons-2-2022-papier-45-x-32-cm-cedric-le-corf

Christophe Miralles
Quatre saisons 2 (2022)
Paper
45 x 32 cm
780 euros
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CHRISTOPHE MIRALLES

Born in 1970, Christophe Miralles is a Franco-Spanish artist who lives and works between Burgundy and Casablanca.

His work is nourished by various sources that go back to its origins: from his Moroccan roots, one can note some Mediterranean influences coming from two shores, which resonate and never collide with each other. Spanish painting from the Golden Age undoubtedly sealed his relationship with light and compositions: we can see in his work the influence of figures such as Velázquez, Zurbarán or El Greco.

Human figures suspended in the void haunt his canvases inviting worrying feelings and a certain nostalgia. These are depersonalized figures, devoid of identity, which remind us of Francis Bacon’s characters. The combination of simplified forms and subtle nuances in colors allows him to give an intemporal aspect to his paintings, where the material is the main subject.
Miralles creates oil paintings on paper and canvas, and uses lacquers. He brought together a series for an exhibition at Loo & Lou Gallery entitled Territoire Unique in April 2018. His works spoke of humanity, travel, and tolerance. Colors burn through his canvases, engorging the space in flames wherein the ashes slowly fall on his large black papers. He is a painter anchored in contemporary society, a territory that he hopes is unique for all. This work was complemented and nourished by the exhibition Vertige du monde by the artist Flo Arnold, presented in collaboration at the Loo & Lou Gallery’s Atelier.

He has received several artistic prizes, such as the Grand Prix Claire Combes of the Taylor Foundation in 2007, the Prix Azart in 2005 or the Prix Charles Oulmont in 2004, which he received with honors from the jury. His work has been the subject of numerous monographic exhibitions in France and abroad and his work is included in several collections. He has also participated in several fairs, including JustMad (Madrid, Spain) with the gallery Loo & Lou in 2019, the Marrakech Biennale (Marrakech, Morocco) or Art Up (Lille, France) in 2016.

Joël Person La Colombière 2 (1999)

la-colombiere-2-1999-huile-sur-carton-39-x-60-cm-joel-person

Joël Person
La Colombière 2 (1999)
Oil on cardboard
39 x 60 cm
880 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person Vue du bateau. La baie d’Ardara.Irlande (1995)

vue-du-bateau-la-baie-d’ardara-irlande-1995-encre-de-chine-et-pastels-gras-20,3-x-52-cm-joel-person

Joël Person
Vue du bateau. La baie d'Ardara. Irlande (1995)
Indian ink and pastels
20,3 x 52 cm
770 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Cedric Le Corf Phalange (2018)

Cedric Le Corf
Phalange (2018)
Wood and porcelain (under a cloche)
20 x 10,5 cm
880 euros
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Image: Despatin & Gobell

CEDRIC LE CORF

Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.

The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.

Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.

Olivier de Sagazan Untitled 37 (2021)

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  • sans-titre-37-2021-herbe-argile-materiaux-mixtes-50x175x21-olivier-de-sagazan

  • sans-titre-37-2021-herbe-argile-materiaux-mixtes-50x175x21-olivier-de-sagazan

Olivier de Sagazan
Untitled 37 (2021)
Wood, grass, clay, mixed media
50 x 17.5 x 21 cm
880 euros
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OLIVIER DE SAGAZAN

Born in 1959 in Brazzaville, Congo. Lives and works in Saint-Nazaire. Biologist of formation, Olivier de Sagazan is interested in life and seeks to establish through his work, a sort of genea-logy of the sensitive to understand how at a given moment, the inert matter structured in cells has generated life and sensitivity.

Olivier de Sagazan Untitled 32 (2021)

  • Olivier-de-sagazan-sans-titre-32

  • sans-titre-32-2021-herbe-argile-materiaux-mixtes-19x8x16-olivier-de-sagazan-2

Olivier de Sagazan
Untitled 32 (2021)
Grass, clay, mixed media
19 x 8 x 16 cm
SOLD
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OLIVIER DE SAGAZAN

Born in 1959 in Brazzaville, Congo. Lives and works in Saint-Nazaire. Biologist of formation, Olivier de Sagazan is interested in life and seeks to establish through his work, a sort of genea-logy of the sensitive to understand how at a given moment, the inert matter structured in cells has generated life and sensitivity.

Arghaël Untitled (2016) 2

Arghaël
Untitled (2016)
Charcoal and oil pastel
34,5 x 46 cm
900 euros
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Image: Arghaël

ARGHAËL

Through his work in filming portraits and commercials, Arghaël became fascinated by the human body, captured through the prism of camera eyes and editing rooms. Looking for a more personal mode of expression, he turned to charcoal and canvas to explore the rawness of human intimacy.

To hone his skills, he studied charcoal drawing with live models at the Ateliers Beaux-Arts of Paris (Gérard Venturelli’s class). From then on, Arghaël’s work will question the mystery of the flesh, frontally probing the unconscious (with every hand’s stroke) to ultimately give birth on canvas. What the artist calls « un incident pictural», a pictural incident.

In his exploration of the human body, Arghaël will soon bare it all, viscerally exposing the body within.

His charcoal now captures flesh, bones and blood vessels to their bare essence as he draws his men and women on the walls of his ‘mental cave’, the canvas lying before his eyes like a second skin.

At times, his carbon giants with oversized limbs and evanescent faces seem to be floating in space, reflecting newfound freedom in the very act of drawing.
Arghaël’s creatures rise to life before our eyes, true metaphors for the creative process. His graphic approach, similar to compositing, allows telluric flashes, amplified by warm pastels and oil painting. To capture flesh in its primitive expression, and give intemporal elegance to his bigger-than-life creations, Arghaël uses charcoal.

Encouraged by art-directors and curators he met in Berlin and Los Angeles galleries, Arghaël decides to show his work in Paris. In 2016, the Loo & Lou Gallery welcomes his first solo exhibition.

Arghaël Untitled (2016) 3

Arghaël
Untitled (2016)
Charcoal and oil pastel
34,5 x 46 cm
900 euros
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Image: Arghaël

ARGHAËL

Through his work in filming portraits and commercials, Arghaël became fascinated by the human body, captured through the prism of camera eyes and editing rooms. Looking for a more personal mode of expression, he turned to charcoal and canvas to explore the rawness of human intimacy.

To hone his skills, he studied charcoal drawing with live models at the Ateliers Beaux-Arts of Paris (Gérard Venturelli’s class). From then on, Arghaël’s work will question the mystery of the flesh, frontally probing the unconscious (with every hand’s stroke) to ultimately give birth on canvas. What the artist calls « un incident pictural», a pictural incident.

In his exploration of the human body, Arghaël will soon bare it all, viscerally exposing the body within.

His charcoal now captures flesh, bones and blood vessels to their bare essence as he draws his men and women on the walls of his ‘mental cave’, the canvas lying before his eyes like a second skin.

At times, his carbon giants with oversized limbs and evanescent faces seem to be floating in space, reflecting newfound freedom in the very act of drawing.
Arghaël’s creatures rise to life before our eyes, true metaphors for the creative process. His graphic approach, similar to compositing, allows telluric flashes, amplified by warm pastels and oil painting. To capture flesh in its primitive expression, and give intemporal elegance to his bigger-than-life creations, Arghaël uses charcoal.

Encouraged by art-directors and curators he met in Berlin and Los Angeles galleries, Arghaël decides to show his work in Paris. In 2016, the Loo & Lou Gallery welcomes his first solo exhibition.

Arghaël Untitled (2016) 4

Arghaël
Untitled (2016)
Charcoal and oil pastel
34,5 x 46 cm
900 euros
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Image: Arghaël

ARGHAËL

Through his work in filming portraits and commercials, Arghaël became fascinated by the human body, captured through the prism of camera eyes and editing rooms. Looking for a more personal mode of expression, he turned to charcoal and canvas to explore the rawness of human intimacy.

To hone his skills, he studied charcoal drawing with live models at the Ateliers Beaux-Arts of Paris (Gérard Venturelli’s class). From then on, Arghaël’s work will question the mystery of the flesh, frontally probing the unconscious (with every hand’s stroke) to ultimately give birth on canvas. What the artist calls « un incident pictural», a pictural incident.

In his exploration of the human body, Arghaël will soon bare it all, viscerally exposing the body within.

His charcoal now captures flesh, bones and blood vessels to their bare essence as he draws his men and women on the walls of his ‘mental cave’, the canvas lying before his eyes like a second skin.

At times, his carbon giants with oversized limbs and evanescent faces seem to be floating in space, reflecting newfound freedom in the very act of drawing.
Arghaël’s creatures rise to life before our eyes, true metaphors for the creative process. His graphic approach, similar to compositing, allows telluric flashes, amplified by warm pastels and oil painting. To capture flesh in its primitive expression, and give intemporal elegance to his bigger-than-life creations, Arghaël uses charcoal.

Encouraged by art-directors and curators he met in Berlin and Los Angeles galleries, Arghaël decides to show his work in Paris. In 2016, the Loo & Lou Gallery welcomes his first solo exhibition.

Flo Arnold Cartographie 2 (2021)

Flo Arnold
Cartographie 2 (2021)
Cellulose paper, oil paint, ink and mixed media
30 x 36 cm
880 euros
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FLO ARNOLD

Born in 1975 in Alsace (France), Flo Arnold grew up in Casablanca (Morocco). Graduated from the Académie des Arceaux (Montpellier, France), she continued her studies in the United States, where she became a member of The American Watercolor Society. She currently lives and works between Morocco and France.

The blending of cultures is a key element in her work. She has continued to explore this idea through many trips abroad, which include Africa, Europe, and the United States. Her artistic gestures are the result of her path, and her installations display this existential nomadism. Her creations are often backlit and sometimes supplemented with sound. She uses Japanese white paper to suggest ephemerality and fragility, a material that gives her sculptures a levitating effect.

Arnold’s sculptures thus float, creating a space for contemplation, spirituality, and self-reflection. As a citizen of the world, she “feeds” her sculptures through her encounters.

In April 2018, she created at the Atelier of the Loo & Lou Gallery the in-situ installation Vertige du monde. This germination of organic flows in paper, backlit and sounded, came to devour the space like a luxuriant vegetation. The architecture of the place disappeared under an immaculate waterfall. The visual artist underlined that in order for everyone to forget the vertigo of the world around us must live in a sphere without borders, without limits in search of inner peace. This proposal is complemented and nourished by the exhibition Territoire Unique by the artist Christophe Miralles, presented in parallel in the exhibition space of the Loo & Lou Gallery Haut Marais.

Florence Arnold has had various individual and group exhibitions in France and abroad as well as exhibited her work in numerous art fairs. She participated twice (in 2014 and in 2016) in the Marrakech Biennale. In the latter’s last edition, she exhibited for the first time one of her installations of water-repellent paper on sheathed brass. Following her participation in the art fair JustMad (Madrid, Spain) in 2019, she received the first prize of the Room Mate Collection. She also participated in Art Paris in 2019 with the Loo & Lou Gallery and in 2020 with the Bogéna Gallery (Saint-Paul-de-Vence, France).

Her work can be found in many private and public collections internationally, including the Mamda Foundation in Rabat, the Saadi Palace’s fonds in Marrakech, the BMCE Bank in Morocco, the San Francisco Food Bank, the Royal Palace of Morocco and the Palmeraie Museum in Marrakech.

Flo Arnold Carretera 1 (2020)

Flo Arnold
Carretera 1 (2020)
Celluosic fiber and mixed media
30 x 36 cm
880 euros
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FLO ARNOLD

Born in 1975 in Alsace (France), Flo Arnold grew up in Casablanca (Morocco). Graduated from the Académie des Arceaux (Montpellier, France), she continued her studies in the United States, where she became a member of The American Watercolor Society. She currently lives and works between Morocco and France.

The blending of cultures is a key element in her work. She has continued to explore this idea through many trips abroad, which include Africa, Europe, and the United States. Her artistic gestures are the result of her path, and her installations display this existential nomadism. Her creations are often backlit and sometimes supplemented with sound. She uses Japanese white paper to suggest ephemerality and fragility, a material that gives her sculptures a levitating effect.

Arnold’s sculptures thus float, creating a space for contemplation, spirituality, and self-reflection. As a citizen of the world, she “feeds” her sculptures through her encounters.

In April 2018, she created at the Atelier of the Loo & Lou Gallery the in-situ installation Vertige du monde. This germination of organic flows in paper, backlit and sounded, came to devour the space like a luxuriant vegetation. The architecture of the place disappeared under an immaculate waterfall. The visual artist underlined that in order for everyone to forget the vertigo of the world around us must live in a sphere without borders, without limits in search of inner peace. This proposal is complemented and nourished by the exhibition Territoire Unique by the artist Christophe Miralles, presented in parallel in the exhibition space of the Loo & Lou Gallery Haut Marais.

Florence Arnold has had various individual and group exhibitions in France and abroad as well as exhibited her work in numerous art fairs. She participated twice (in 2014 and in 2016) in the Marrakech Biennale. In the latter’s last edition, she exhibited for the first time one of her installations of water-repellent paper on sheathed brass. Following her participation in the art fair JustMad (Madrid, Spain) in 2019, she received the first prize of the Room Mate Collection. She also participated in Art Paris in 2019 with the Loo & Lou Gallery and in 2020 with the Bogéna Gallery (Saint-Paul-de-Vence, France).

Her work can be found in many private and public collections internationally, including the Mamda Foundation in Rabat, the Saadi Palace’s fonds in Marrakech, the BMCE Bank in Morocco, the San Francisco Food Bank, the Royal Palace of Morocco and the Palmeraie Museum in Marrakech.

Flo Arnold Carretera 3 (2020)

Flo Arnold
Carretera 3 (2020)
Celluosic fiber and mixed media
30 x 36 cm
880 euros
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FLO ARNOLD

Born in 1975 in Alsace (France), Flo Arnold grew up in Casablanca (Morocco). Graduated from the Académie des Arceaux (Montpellier, France), she continued her studies in the United States, where she became a member of The American Watercolor Society. She currently lives and works between Morocco and France.

The blending of cultures is a key element in her work. She has continued to explore this idea through many trips abroad, which include Africa, Europe, and the United States. Her artistic gestures are the result of her path, and her installations display this existential nomadism. Her creations are often backlit and sometimes supplemented with sound. She uses Japanese white paper to suggest ephemerality and fragility, a material that gives her sculptures a levitating effect.

Arnold’s sculptures thus float, creating a space for contemplation, spirituality, and self-reflection. As a citizen of the world, she “feeds” her sculptures through her encounters.

In April 2018, she created at the Atelier of the Loo & Lou Gallery the in-situ installation Vertige du monde. This germination of organic flows in paper, backlit and sounded, came to devour the space like a luxuriant vegetation. The architecture of the place disappeared under an immaculate waterfall. The visual artist underlined that in order for everyone to forget the vertigo of the world around us must live in a sphere without borders, without limits in search of inner peace. This proposal is complemented and nourished by the exhibition Territoire Unique by the artist Christophe Miralles, presented in parallel in the exhibition space of the Loo & Lou Gallery Haut Marais.

Florence Arnold has had various individual and group exhibitions in France and abroad as well as exhibited her work in numerous art fairs. She participated twice (in 2014 and in 2016) in the Marrakech Biennale. In the latter’s last edition, she exhibited for the first time one of her installations of water-repellent paper on sheathed brass. Following her participation in the art fair JustMad (Madrid, Spain) in 2019, she received the first prize of the Room Mate Collection. She also participated in Art Paris in 2019 with the Loo & Lou Gallery and in 2020 with the Bogéna Gallery (Saint-Paul-de-Vence, France).

Her work can be found in many private and public collections internationally, including the Mamda Foundation in Rabat, the Saadi Palace’s fonds in Marrakech, the BMCE Bank in Morocco, the San Francisco Food Bank, the Royal Palace of Morocco and the Palmeraie Museum in Marrakech.

Tana Borissova Corps vague noir 07 (2019)

Tana Borissova
Corps vague noir 07 (2019)
Ink
29,5 x 40,5 cm
900 euros
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ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

Tana Borissova Aile 25 (2020)

Aile 25, 2020, Acrylique sur carton, 30 x 40 cm

Tana Borissova
Aile 25 (2020)
Acrylic on cardboard
30 x 40 cm
880 euros
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ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

Tana Borissova Aile 24 (2020)

Aile 24, 2020, Acrylique sur carton, 30 x 40 cm

Tana Borissova
Aile 24 (2020)
Acrylic on cardboard
30 x 40 cm
880 euros
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RELATED WORKS
ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

Tana Borissova Aile 18 (2020)

Aile 18, 2020, Acrylique sur carton, 24 x 33 cm

Tana Borissova
Aile 18 (2020)
Acrylic on cardboard
24 x 33 cm
880 euros
INQUIRE >

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ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

Tana Borissova Aile 17 (2020)

Aile 17, 2020, Acrylique sur carton, 30 x 40 cm

Tana Borissova
Aile 17 (2020)
Acrylic on cardboard
30 x 40 cm
880 euros
INQUIRE >

RELATED WORKS
ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

Tana Borissova Aile 16 (2020)

Aile 16, 2020, Acrylique sur carton, 30 x 40 cm

Tana Borissova
Aile 16 (2020)
Acrylic on cardboard
30 x 40 cm
880 euros
INQUIRE >

RELATED WORKS
ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

Tana Borissova Aile 09 (2020)

Aile 09, 2020, Acrylique sur carton, 24 x 33 cm

Tana Borissova
Aile 09 (2020)
Acrylic on cardboard
24 x 33 cm
880 euros
INQUIRE >

RELATED WORKS
ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

Tana Borissova Corps Vague 13 (2019)

Tana Borissova
Corps Vague 13 (2019)
Ink
24 x 32 cm
900 euros
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RELATED WORKS
ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

Tana Borissova Ronce 04 (2018)

Tana Borissova
Ronce 4 (2018)
Ink
21 x 29.5 cm
900 euros
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RELATED WORKS
ABOUT THE ARTIST

TANA BORISSOVA

Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.

She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.

In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.

The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.

winter-xylography-60x45cm-2020

Hélène Damville Winter (2020)

Hélène-Damville-Winter-xylography-60x45cm-2020

Hélène-Damville-Winter-xylography-60x45cm-2020

Hélène Damville
Winter (2020)
Xylography
60 x 45 cm / Limited Edition
750 euros
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Born into a family of artists in Normandy, Hélène Damville has always drawn from nature. This passion for observing living things (animals and plants) led her to attend the Paris Museum of History where she discovered Buffon and the naturalists. She copied the plates of her masters over and over again, thus familiarising herself with the complexity of a skeleton and its joints or the networks and ramifications of the plant world, all those dry elements which are both the architecture of life and the trace of life when life has passed. In parallel to her assiduous visits to the museum, she completed her training by taking courses in artistic anatomy and obtained a Master’s degree in oriental philosophy at the Sorbonne.

It is in this environment of scientific, philosophical and artistic analyses that she builds her engraved corpus.

The desire to be as close as possible to living matter led her to choose engraving as the main medium for her research. Engraving, but more precisely direct carving on metal and wood. It is indeed through the line and a vigorous stroke that Hélène succeeds in translating the essence of life in her works. She trained in copper engraving with André Bongibault at the L’estampe workshop in Chaville and then perfected her skills in ornamental metal engraving at the Ecole Boulle. André Bongibault saw her qualities and offered her a residency in China where she discovered woodcutting. This technique allows her to apprehend large formats and to give free rein to the virtuosity of her drawing in an intimate and direct relationship with the wood. She incises the epidermis of the matrix with surgical precision, which she animates with a free and vigorous line, from which emanates the energy of life. This work at the junction of engraving and sculpture corresponds perfectly to the artist who absorbs herself body and soul in this long process of transformation of organic matter. Hélène Damville reverses the hierarchy between matrix and print. Here, the print is the witness of the matrix, not its finality. Moreover, the artist confides that she is no longer interested in the notion of multiples and tends rather to make single prints, or even series of two or three copies. On the other hand, alongside her prints, she offers us her magnificent woodcuts, thus joining the artists of prehistory whose work’s purpose was the engraved object.

Humans are rarely directly represented. Nevertheless, the artist suggests his presence through the juxtaposition of matrices, recalling the experiments of Rodin who liked to superimpose his sculptures in playful and surrealist devices before the letter. Thus, two inverted manatee heads give rise to a troubling evocation of vanity, which questions our finality as well as our origins.

From engraving to tattooing

For Hélène Damville, this work of the line in the epidermis of the wood naturally finds its extension in the ancient art of tattooing. For a few months now she has been an apprentice in the Parisian salon of the tattoo artist Alession Pariggiano. She who likes to work with organic material has found the artistic niche she has been looking for for years: “the skin is a magnificent support whose volume allows the drawing to become a living sculpture”.

Pascal Hemery

Hélène Damville Ivy (2016)

Hélène-Damville-Ivy-xylography-45x60cm-2013

Hélène-Damville-Ivy-xylography-45x60cm-2013

Hélène Damville
Ivy (2016)
Xylography
45 x 60 cm / Limited Edition
750 euros
INQUIRE >


Born into a family of artists in Normandy, Hélène Damville has always drawn from nature. This passion for observing living things (animals and plants) led her to attend the Paris Museum of History where she discovered Buffon and the naturalists. She copied the plates of her masters over and over again, thus familiarising herself with the complexity of a skeleton and its joints or the networks and ramifications of the plant world, all those dry elements which are both the architecture of life and the trace of life when life has passed. In parallel to her assiduous visits to the museum, she completed her training by taking courses in artistic anatomy and obtained a Master’s degree in oriental philosophy at the Sorbonne.

It is in this environment of scientific, philosophical and artistic analyses that she builds her engraved corpus.

The desire to be as close as possible to living matter led her to choose engraving as the main medium for her research. Engraving, but more precisely direct carving on metal and wood. It is indeed through the line and a vigorous stroke that Hélène succeeds in translating the essence of life in her works. She trained in copper engraving with André Bongibault at the L’estampe workshop in Chaville and then perfected her skills in ornamental metal engraving at the Ecole Boulle. André Bongibault saw her qualities and offered her a residency in China where she discovered woodcutting. This technique allows her to apprehend large formats and to give free rein to the virtuosity of her drawing in an intimate and direct relationship with the wood. She incises the epidermis of the matrix with surgical precision, which she animates with a free and vigorous line, from which emanates the energy of life. This work at the junction of engraving and sculpture corresponds perfectly to the artist who absorbs herself body and soul in this long process of transformation of organic matter. Hélène Damville reverses the hierarchy between matrix and print. Here, the print is the witness of the matrix, not its finality. Moreover, the artist confides that she is no longer interested in the notion of multiples and tends rather to make single prints, or even series of two or three copies. On the other hand, alongside her prints, she offers us her magnificent woodcuts, thus joining the artists of prehistory whose work’s purpose was the engraved object.

Humans are rarely directly represented. Nevertheless, the artist suggests his presence through the juxtaposition of matrices, recalling the experiments of Rodin who liked to superimpose his sculptures in playful and surrealist devices before the letter. Thus, two inverted manatee heads give rise to a troubling evocation of vanity, which questions our finality as well as our origins.

From engraving to tattooing

For Hélène Damville, this work of the line in the epidermis of the wood naturally finds its extension in the ancient art of tattooing. For a few months now she has been an apprentice in the Parisian salon of the tattoo artist Alession Pariggiano. She who likes to work with organic material has found the artistic niche she has been looking for for years: “the skin is a magnificent support whose volume allows the drawing to become a living sculpture”.

Pascal Hemery

Hélène Damville Stump (2013)

Hélène-Damville-Stump-2013-xylography-45x60cm

Hélène-Damville-Stump-2013-xylography-45x60cm

Hélène Damville
Stump (2013)
Xylography
45 x 60 cm / Limited Edition
750 euros
INQUIRE >


Born into a family of artists in Normandy, Hélène Damville has always drawn from nature. This passion for observing living things (animals and plants) led her to attend the Paris Museum of History where she discovered Buffon and the naturalists. She copied the plates of her masters over and over again, thus familiarising herself with the complexity of a skeleton and its joints or the networks and ramifications of the plant world, all those dry elements which are both the architecture of life and the trace of life when life has passed. In parallel to her assiduous visits to the museum, she completed her training by taking courses in artistic anatomy and obtained a Master’s degree in oriental philosophy at the Sorbonne.

It is in this environment of scientific, philosophical and artistic analyses that she builds her engraved corpus.

The desire to be as close as possible to living matter led her to choose engraving as the main medium for her research. Engraving, but more precisely direct carving on metal and wood. It is indeed through the line and a vigorous stroke that Hélène succeeds in translating the essence of life in her works. She trained in copper engraving with André Bongibault at the L’estampe workshop in Chaville and then perfected her skills in ornamental metal engraving at the Ecole Boulle. André Bongibault saw her qualities and offered her a residency in China where she discovered woodcutting. This technique allows her to apprehend large formats and to give free rein to the virtuosity of her drawing in an intimate and direct relationship with the wood. She incises the epidermis of the matrix with surgical precision, which she animates with a free and vigorous line, from which emanates the energy of life. This work at the junction of engraving and sculpture corresponds perfectly to the artist who absorbs herself body and soul in this long process of transformation of organic matter. Hélène Damville reverses the hierarchy between matrix and print. Here, the print is the witness of the matrix, not its finality. Moreover, the artist confides that she is no longer interested in the notion of multiples and tends rather to make single prints, or even series of two or three copies. On the other hand, alongside her prints, she offers us her magnificent woodcuts, thus joining the artists of prehistory whose work’s purpose was the engraved object.

Humans are rarely directly represented. Nevertheless, the artist suggests his presence through the juxtaposition of matrices, recalling the experiments of Rodin who liked to superimpose his sculptures in playful and surrealist devices before the letter. Thus, two inverted manatee heads give rise to a troubling evocation of vanity, which questions our finality as well as our origins.

From engraving to tattooing

For Hélène Damville, this work of the line in the epidermis of the wood naturally finds its extension in the ancient art of tattooing. For a few months now she has been an apprentice in the Parisian salon of the tattoo artist Alession Pariggiano. She who likes to work with organic material has found the artistic niche she has been looking for for years: “the skin is a magnificent support whose volume allows the drawing to become a living sculpture”.

Pascal Hemery

Elisabeth Daynès Blister (2018)

Elisabeth Daynès
Blister (2018)
Silicon, plexi, metal
18 x 11 x 3 cm
990 euros
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ABOUT THE ARTIST

Photo Delphine Crépin

ELISABETH DAYNÈS

Elisabeth Daynès was born in Beziers, France in 1960 and currently lives and works in Paris.

In the early stages of her career in theater, she was fascinated by questions of identity and metamorphosis. In the 1990s, this passion led her to painstakingly recreate the bodies of prehistoric hominids based on advanced scientific knowledge. Soon after, she became a world-renowned paleo artist, notably with her reconstructions of fossil hominids for the Museum of Tautavel or her recreation of the Australopithecus Lucy in 1999 for the Field Museum in Chicago. In 2010, she was awarded the John J. Lanzendorf PaleoArt Prize. In 2011, the Ile-de-France Museum of Prehistory devoted a solo exhibition to her work while a number of her sculptures of hominids were inaugurated in South Korea.

After creating work based on the origins of humanity, Daynès now invites the public to reflect on the trials of appearance and the human face, both today and in the future. As she plays with and recomposes the human skull, by varying its size, material, and treatment, she shows us all the faces that we might have had and that we will have one day, if we so choose.

She wishes to show that in a time of social networking and ubiquitous images, we are free to invent endless narcissistic mirrors wherein boundaries blur between real and virtual, natural and artificial. Physical appearance and the perpetual search for perfection today has become an obsession. Changing your nose or lips for a professional meeting or for dinner with friends is not as surreal of a thought at a time when technology has taken the relay of biological evolution.

Her work demonstrates that in the future as well as in the past, we are not the apex of evolution, nor are we the only possible humanity. We have always been diverse, and we will only become increasingly more so. Her art constantly plays with science as it feeds much of our imagination, with the two taking the viewer on a voyage through time.

Elisabeth Daynès Breast pépinières roses (2020)

Elisabeth Daynès
Breast pépinières roses (2020)
16 mushrooms (two works displayed) / Marble plaster, metal, slate
31 x 20 x 16 cm
1 540 euros each
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ABOUT THE ARTIST

Photo Delphine Crépin

ELISABETH DAYNÈS

Elisabeth Daynès was born in Beziers, France in 1960 and currently lives and works in Paris.

In the early stages of her career in theater, she was fascinated by questions of identity and metamorphosis. In the 1990s, this passion led her to painstakingly recreate the bodies of prehistoric hominids based on advanced scientific knowledge. Soon after, she became a world-renowned paleo artist, notably with her reconstructions of fossil hominids for the Museum of Tautavel or her recreation of the Australopithecus Lucy in 1999 for the Field Museum in Chicago. In 2010, she was awarded the John J. Lanzendorf PaleoArt Prize. In 2011, the Ile-de-France Museum of Prehistory devoted a solo exhibition to her work while a number of her sculptures of hominids were inaugurated in South Korea.

After creating work based on the origins of humanity, Daynès now invites the public to reflect on the trials of appearance and the human face, both today and in the future. As she plays with and recomposes the human skull, by varying its size, material, and treatment, she shows us all the faces that we might have had and that we will have one day, if we so choose.

She wishes to show that in a time of social networking and ubiquitous images, we are free to invent endless narcissistic mirrors wherein boundaries blur between real and virtual, natural and artificial. Physical appearance and the perpetual search for perfection today has become an obsession. Changing your nose or lips for a professional meeting or for dinner with friends is not as surreal of a thought at a time when technology has taken the relay of biological evolution.

Her work demonstrates that in the future as well as in the past, we are not the apex of evolution, nor are we the only possible humanity. We have always been diverse, and we will only become increasingly more so. Her art constantly plays with science as it feeds much of our imagination, with the two taking the viewer on a voyage through time.

Elisabeth Daynès Breast pépinière marron (2020)

Elisabeth Daynès
Breast pépinière marron (2020)
7 mushrooms / Marble plaster, metal, slate
20 x 10 x 16 cm
990 euros
INQUIRE >

RELATED WORKS
ABOUT THE ARTIST

Photo Delphine Crépin

ELISABETH DAYNÈS

Elisabeth Daynès was born in Beziers, France in 1960 and currently lives and works in Paris.

In the early stages of her career in theater, she was fascinated by questions of identity and metamorphosis. In the 1990s, this passion led her to painstakingly recreate the bodies of prehistoric hominids based on advanced scientific knowledge. Soon after, she became a world-renowned paleo artist, notably with her reconstructions of fossil hominids for the Museum of Tautavel or her recreation of the Australopithecus Lucy in 1999 for the Field Museum in Chicago. In 2010, she was awarded the John J. Lanzendorf PaleoArt Prize. In 2011, the Ile-de-France Museum of Prehistory devoted a solo exhibition to her work while a number of her sculptures of hominids were inaugurated in South Korea.

After creating work based on the origins of humanity, Daynès now invites the public to reflect on the trials of appearance and the human face, both today and in the future. As she plays with and recomposes the human skull, by varying its size, material, and treatment, she shows us all the faces that we might have had and that we will have one day, if we so choose.

She wishes to show that in a time of social networking and ubiquitous images, we are free to invent endless narcissistic mirrors wherein boundaries blur between real and virtual, natural and artificial. Physical appearance and the perpetual search for perfection today has become an obsession. Changing your nose or lips for a professional meeting or for dinner with friends is not as surreal of a thought at a time when technology has taken the relay of biological evolution.

Her work demonstrates that in the future as well as in the past, we are not the apex of evolution, nor are we the only possible humanity. We have always been diverse, and we will only become increasingly more so. Her art constantly plays with science as it feeds much of our imagination, with the two taking the viewer on a voyage through time.

Elisabeth Daynès Breast pépinière rose (2020)

Elisabeth Daynès
Breast pépinières roses (2020)
7 mushrooms / Marble plaster, metal, slate
20 x 10 x 16 cm
990 euros
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Photo Delphine Crépin

ELISABETH DAYNÈS

Elisabeth Daynès was born in Beziers, France in 1960 and currently lives and works in Paris.

In the early stages of her career in theater, she was fascinated by questions of identity and metamorphosis. In the 1990s, this passion led her to painstakingly recreate the bodies of prehistoric hominids based on advanced scientific knowledge. Soon after, she became a world-renowned paleo artist, notably with her reconstructions of fossil hominids for the Museum of Tautavel or her recreation of the Australopithecus Lucy in 1999 for the Field Museum in Chicago. In 2010, she was awarded the John J. Lanzendorf PaleoArt Prize. In 2011, the Ile-de-France Museum of Prehistory devoted a solo exhibition to her work while a number of her sculptures of hominids were inaugurated in South Korea.

After creating work based on the origins of humanity, Daynès now invites the public to reflect on the trials of appearance and the human face, both today and in the future. As she plays with and recomposes the human skull, by varying its size, material, and treatment, she shows us all the faces that we might have had and that we will have one day, if we so choose.

She wishes to show that in a time of social networking and ubiquitous images, we are free to invent endless narcissistic mirrors wherein boundaries blur between real and virtual, natural and artificial. Physical appearance and the perpetual search for perfection today has become an obsession. Changing your nose or lips for a professional meeting or for dinner with friends is not as surreal of a thought at a time when technology has taken the relay of biological evolution.

Her work demonstrates that in the future as well as in the past, we are not the apex of evolution, nor are we the only possible humanity. We have always been diverse, and we will only become increasingly more so. Her art constantly plays with science as it feeds much of our imagination, with the two taking the viewer on a voyage through time.

Elisabeth Daynès Léa (2016)

Elisabeth Daynès
Léa (2016)
Jesmonite, burnt wood base
12 x 26 x 10 cm
990 euros
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Photo Delphine Crépin

ELISABETH DAYNÈS

Elisabeth Daynès was born in Beziers, France in 1960 and currently lives and works in Paris.

In the early stages of her career in theater, she was fascinated by questions of identity and metamorphosis. In the 1990s, this passion led her to painstakingly recreate the bodies of prehistoric hominids based on advanced scientific knowledge. Soon after, she became a world-renowned paleo artist, notably with her reconstructions of fossil hominids for the Museum of Tautavel or her recreation of the Australopithecus Lucy in 1999 for the Field Museum in Chicago. In 2010, she was awarded the John J. Lanzendorf PaleoArt Prize. In 2011, the Ile-de-France Museum of Prehistory devoted a solo exhibition to her work while a number of her sculptures of hominids were inaugurated in South Korea.

After creating work based on the origins of humanity, Daynès now invites the public to reflect on the trials of appearance and the human face, both today and in the future. As she plays with and recomposes the human skull, by varying its size, material, and treatment, she shows us all the faces that we might have had and that we will have one day, if we so choose.

She wishes to show that in a time of social networking and ubiquitous images, we are free to invent endless narcissistic mirrors wherein boundaries blur between real and virtual, natural and artificial. Physical appearance and the perpetual search for perfection today has become an obsession. Changing your nose or lips for a professional meeting or for dinner with friends is not as surreal of a thought at a time when technology has taken the relay of biological evolution.

Her work demonstrates that in the future as well as in the past, we are not the apex of evolution, nor are we the only possible humanity. We have always been diverse, and we will only become increasingly more so. Her art constantly plays with science as it feeds much of our imagination, with the two taking the viewer on a voyage through time.

Joël Person No2, Série Bruits Du Monde (2017)

Joël-Person-No2-Bruits-Du-Monde-Black-Stone-Pencil-On-Paper-29,5×29,5cm-2017

Joël-Person-No2-Bruits-Du-Monde-Black-Stone-Pencil-On-Paper-29,5×29,5cm-2017

Joël Person
No. 2, "Bruits du Monde" series (2017)
Pencil on paper
29.5 x 29.5 cm
750 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person No. 4, Série Bruits du monde (2017)

Joël-Person-Mme-Recamier-Pierre-Noire-Sur-Papier-60x31cm-2020

Joël-Person-Mme-Recamier-Pierre-Noire-Sur-Papier-60x31cm-2020

Joël Person
No. 4, "Bruits du Monde" series (2017)
Pencil on paper
29.5 x 29.5 cm
750 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person No 12, Série Bruits Du Monde (2017)

Joël Person
No. 12, "Bruits du Monde" series (2017)
Black stone Pencil on paper
29.5 x 29.5 cm
750 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person No16, Série Bruits Du Monde (2017)

Joël Person
No. 16, "Bruits du Monde" series (2021)
Pencil on paper
29.5 x 29.5 cm
750 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person Quatuor Mona, Série Carnets de notes (2020)

Quatuor Mona, Série Carnets de notes, 2020, Black stone pencil on paper, 60 x 22 cm

Quatuor Mona, Série Carnets de notes, 2020, Black stone pencil on paper, 60 x 22 cm

Joël Person
Quatuor Mona, Série Carnets de notes (2020)
Black stone pencil on paper
60 x 35,5 cm
700 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person No3, Série Ligne De Vie (1982)

Joël-Person-No3-Ligne-De-Vie-Pencil-on-paper-31,5×25,5cm-1982

Joël-Person-No3-Ligne-De-Vie-Pencil-on-paper–31,5×25,5cm-1982

Joël Person
No3, Série Ligne de Vie (1982)
Pencil on paper
31,5 x 25,5 cm
650 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person No2, Série Ligne De Vie (1982)

Joël-Person-No2-Ligne-De-Vie-Pencil-On-Paper-31,5×25,5cm-1982

Joël-Person-No2-Ligne-De-Vie-Pencil-On-Paper-31,5×25,5cm-1982

Joël Person
No2, Série Ligne de Vie (1982)
Pencil on paper
31,5 x 25,5 cm
650 euros
INQUIRE >

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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person No1, Série Ligne De Vie (1982)

Joël-Person-No1-Ligne-De-Vie-Pencil-On-Paper-31,5×25,5cm-1982

Joël-Person-No1-Ligne-De-Vie-Pencil-On-Paper-31,5×25,5cm-1982

Joël Person
No1, Série Ligne de Vie (1982)
Pencil on paper
31,5 x 25,5 cm
650 euros
INQUIRE >

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ABOUT THE ARTIST

Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Joël Person Coastline (2012)

Joël-Person-Coastline-Pierre-Noire-Sur-Papier-69x41cm-2012

Joël-Person-Coastline-Pierre-Noire-Sur-Papier-69x41cm-2012

Joël Person
Coastline (2012)
Pencil on paper
69 x 41 cm
800 euros
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Axelle Viannay

JOËL PERSON

“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.

Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”

— Philippe Garnier, Les Cahiers Dessinés #9

The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.

Didier Genty Tête (2018)

Didier Genty
Tête (2018)
Acrylic
24 x 32 cm
440 euros
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Image: Whatever

DIDIER GENTY

Born in 1956, Didier Genty lives and works in the Paris region. He trained at the Beaux-Arts de Bordeaux.

“I like muscles, blood circulation, the underside of the skin… Identity is DNA, invisible, interior. My portraits are more related to the deep being of an individual, beyond appearances. In the face, I prefer his imprint. I thus avoid the complacency inherent to the practice of self-portraiture. My painting like this Folfiri, my chemotherapy, flows in the features of these bodies in jolts, slumped. From within things, flesh and moods swarm all over the surface and in thickness, the scratches of color, the waxy, brutal and uncompromising features. A big tiredness, a bad taste in the mouth, the body is undoubtedly diminished but the painting remains very alive, a question of survival”.

– Didier Genty

Didier Genty Tête (2018)

Didier Genty
Tête (2018)
Acrylic
24 x 32 cm
440 euros
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Image: Whatever

DIDIER GENTY

Born in 1956, Didier Genty lives and works in the Paris region. He trained at the Beaux-Arts de Bordeaux.

“I like muscles, blood circulation, the underside of the skin… Identity is DNA, invisible, interior. My portraits are more related to the deep being of an individual, beyond appearances. In the face, I prefer his imprint. I thus avoid the complacency inherent to the practice of self-portraiture. My painting like this Folfiri, my chemotherapy, flows in the features of these bodies in jolts, slumped. From within things, flesh and moods swarm all over the surface and in thickness, the scratches of color, the waxy, brutal and uncompromising features. A big tiredness, a bad taste in the mouth, the body is undoubtedly diminished but the painting remains very alive, a question of survival”.

– Didier Genty

Didier Genty Tête (2020)

Didier Genty
Tête (2020)
Acrylic
56 x 76 cm
990 euros
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Image: Whatever

DIDIER GENTY

Born in 1956, Didier Genty lives and works in the Paris region. He trained at the Beaux-Arts de Bordeaux.

“I like muscles, blood circulation, the underside of the skin… Identity is DNA, invisible, interior. My portraits are more related to the deep being of an individual, beyond appearances. In the face, I prefer his imprint. I thus avoid the complacency inherent to the practice of self-portraiture. My painting like this Folfiri, my chemotherapy, flows in the features of these bodies in jolts, slumped. From within things, flesh and moods swarm all over the surface and in thickness, the scratches of color, the waxy, brutal and uncompromising features. A big tiredness, a bad taste in the mouth, the body is undoubtedly diminished but the painting remains very alive, a question of survival”.

– Didier Genty

Fred Kleinberg 26/12/04-1 (2006)

Fred Kleinberg
26/12/04 1 (2006)
Lithography on paper with or without frame
77,7 x 54 cm without frame - 82 x 58,4 cm with frame / Limited edition of 30 copies.
400 euros without frame / 450 euros with frame
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Fred Kleinberg 26/12/04-2 (2006)

Fred Kleinberg
26/12/04 2 (2006)
Lithography on paper with or without frame
77,7 x 54 cm without frame - 82 x 58,4 cm with frame / Limited edition of 30 copies.
400 euros without frame / 450 euros with frame
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Fred Kleinberg 26/12/04-3 (2006)

Written by hautmarais on . Posted in catalog.

Fred Kleinberg
26/12/04 3 (2006)
Lithography on paper with or without frame
77,7 x 54 cm without frame - 82 x 58,4 cm with frame / Limited edition of 30 copies.
400 euros without frame / 450 euros with frame
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Fred Kleinberg Dog Blue and Yellow (2006)

Written by hautmarais on . Posted in catalog.

Fred Kleinberg
Dog Blue and Yellow (2006)
Carborandum engraving
60 x 50 cm / Limited edition of 10
450 euros
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FRED KLEINBERG

Fred Kleinberg was born in 1966 in Paris.

He is graduated from the Ecole Nationale Supérieure des Beaux-Arts in Paris, and in parallel he produced with several artist collectives some urban art in the public space by mixing painting with performance.He has been exhibiting his work as a painter since 1983 internationally: in Europe, in United States and in Asia. His work is shown in private collections, galleries and public institutions. Globe-trotting artist, he has been selected for numerous artist residencies: the Villa Medici in Rome in 1996 in collaboration with the novelist Kits Hilaire, the Museum of Contemporary Art in Moscow in 2001,the Art Residency of Pondichéry in 2004 in India, in China in 2010 in collaboration with the Hong Merchant Gallery of Shanghai, and in India in 2018 at the University of Shantiniketan. He received several painting awards: the Salon de Montrouge prize in 1998, the Coprim foundation prize in 2000, the Taylor foundation prize in 2008, the Charles Oulmont foundation prize in 2008 and the 1st contemporary art prize of Monaco in 2014.

Fred Kleinberg sets his work as a successive thematic projects and naturally, intuitively, he is inspired by travels around the world to create his new series.

Each of its main exhibitions show these thematic series: “La mémoire au corps” at the Coprim foundation in Paris in 1999 ; “D’obscénité et de fureur” at the Passage de Retz in Paris in 2002 ; “Made in India” at the Koehnline Museum of Art in Chicago, USA in 2006 ; “Baroque Flesh” at the Polad-Hardouin Gallery in Paris in 2011 ; «Territoire d’héroïsme et de fureur», his first retrospective exhibition, at the Messine Gallery in Paris in 2012 ; “Reborn Project” at the Frank Pages Gallery in Geneva, Switzerland in 2015 ; “Odyssey” at the ART Elysées fair in Paris as guest of honor in 2017.

Fred Kleinberg lives and works in Paris.

Fred Kleinberg Yogi (2006)

Written by hautmarais on . Posted in catalog.

Fred Kleinberg
Yogi (2006)
Carborandum engraving
60 x 50 cm / Limited edition of 15
450 euros
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FRED KLEINBERG

Fred Kleinberg was born in 1966 in Paris.

He is graduated from the Ecole Nationale Supérieure des Beaux-Arts in Paris, and in parallel he produced with several artist collectives some urban art in the public space by mixing painting with performance.He has been exhibiting his work as a painter since 1983 internationally: in Europe, in United States and in Asia. His work is shown in private collections, galleries and public institutions. Globe-trotting artist, he has been selected for numerous artist residencies: the Villa Medici in Rome in 1996 in collaboration with the novelist Kits Hilaire, the Museum of Contemporary Art in Moscow in 2001,the Art Residency of Pondichéry in 2004 in India, in China in 2010 in collaboration with the Hong Merchant Gallery of Shanghai, and in India in 2018 at the University of Shantiniketan. He received several painting awards: the Salon de Montrouge prize in 1998, the Coprim foundation prize in 2000, the Taylor foundation prize in 2008, the Charles Oulmont foundation prize in 2008 and the 1st contemporary art prize of Monaco in 2014.

Fred Kleinberg sets his work as a successive thematic projects and naturally, intuitively, he is inspired by travels around the world to create his new series.

Each of its main exhibitions show these thematic series: “La mémoire au corps” at the Coprim foundation in Paris in 1999 ; “D’obscénité et de fureur” at the Passage de Retz in Paris in 2002 ; “Made in India” at the Koehnline Museum of Art in Chicago, USA in 2006 ; “Baroque Flesh” at the Polad-Hardouin Gallery in Paris in 2011 ; «Territoire d’héroïsme et de fureur», his first retrospective exhibition, at the Messine Gallery in Paris in 2012 ; “Reborn Project” at the Frank Pages Gallery in Geneva, Switzerland in 2015 ; “Odyssey” at the ART Elysées fair in Paris as guest of honor in 2017.

Fred Kleinberg lives and works in Paris.

Fred Kleinberg Pink Kali (2005)

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Fred Kleinberg
Pink Kali (2005)
Lithography on BFK paper 310 gr
76 x 55 cm / Tirage limité à 60 ex.
440 euros
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Cedric Le Corf Série Vanité (2013-2017)

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Cedric Le Corf
Série Vanité (2013-2017)
Oil on canvas
30 x 30 cm
880 euros each
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Image: Despatin & Gobell

CEDRIC LE CORF

Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.

The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.

Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.

Cedric Le Corf Vanité 16 (2013)

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Cedric Le Corf
Vanité 16 (2013)
Oil on canvas
30 x 30 cm
880 euros
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ABOUT THE ARTIST

Image: Despatin & Gobell

CEDRIC LE CORF

Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.

The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.

Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.

Cedric Le Corf Justa 4 (2018)

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Cedric Le Corf
Justa 4 (2018)
Drypoint etching
76 x 106 cm / Limited Edition
880 euros
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ABOUT THE ARTIST

Image: Despatin & Gobell

CEDRIC LE CORF

Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.

The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.

Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.

Cedric Le Corf Mâchoires (2014)

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Cedric Le Corf
Mâchoires (2014)
Drypoint etching
95 x 65 cm / Limited Edition
900 euros
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ABOUT THE ARTIST

Image: Despatin & Gobell

CEDRIC LE CORF

Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.

The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.

Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.

Cedric Le Corf Ossuaire (2019)

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Cedric Le Corf
Ossuaire (2019)
Drypoint etching
Diameter 44 cm / Edition of 10
880 euros
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ABOUT THE ARTIST

Image: Despatin & Gobell

CEDRIC LE CORF

Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.

The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.

Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.

Cedric Le Corf Le vexin II, hommage à Corot (2018)

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Cedric Le Corf
Le vexin II, hommage à Corot (2018)
Drypoint etching
70 x 84 cm / Edition of 20
660 euros
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