Serge Rezvani, Repentir I AA, Oil on canvas, 195 x 195 cm, 1962/1992 © Thierry Cohen

Serge Rezvani was born in Teheran on March 23, 1928, to a Persian father, a dancer and magician, and a Russian mother, a violinist and horsewoman.

Arriving in France at the age of one, his childhood was spent in the middle of nowhere, tossed about by the sufferings of a sick mother who led him to unbelievable Russian emigrant boarding houses, where only his precocious drawing skills enabled him to preserve himself, to exist by being admired a little.

Fleeing the terror of this prison world, at age 15 he hid under a false identity in German-occupied Paris, taking refuge in the workshops of the illustrious Académie de la Grande-Chaumière.

“I wanted to live painting, not produce paintings. I kept nothing that came out of my hands; drawings fell to the ground without my bothering to pick them up; for months I painted on the same canvas, which I scraped away when the layer became too thick. I loved the act of painting, I loved the life that the act of painting imposed, I loved the extraordinary tension that somehow took me out of myself when, standing in front of the canvas, I was no longer me but what was being done on the canvas.”

At the age of 17, a chance meeting with Paul Eluard led to the production of Elle se fait élever un palais dans la forêt, a rare book, published in an edition of 16 copies, illustrated with Serge’s engravings and a moving premonition of the wonderful love story he would have a few years later with Lula.

Serge and his friends, painters Jacques Lanzmann, Pierre Dmitrienko and sculptor Raymond Mason, believed in the power of the artist to change the world, and in painting as destiny.

The shimmer of his early works, humble compositions in rabbit-skin glue on burlap canvas, is perfectly at home in the informal art scene, too hastily dubbed the Second School of Paris. Critical and commercial success (exhibitions at Maeght (Les Mains éblouies), Arnaud, Berggrüen, Lucien Durand, Jacqueline Ranson in Paris and Hanover in London), painfully questioned Rezvani’s relationship with painting.

Having adopted Picasso’s dictum that it’s not what the artist does that counts, it’s what he is, he decided to flee Paris and the unbreathable climate of the art trade, to live with the absolute love of his life, Danièle-Lula, whom he had met in 1950.

It was in the Massif des Maures, a continent unique in the world, a place closed in on itself, that the couple settled in a small isolated house, La Béate. In this happy retreat, Rezvani assumes his desire for absolute distance, to be on the side, to deny the society of numbers in a simple and total quest for truth. Paradoxically, his painting expresses deep anguish, the traumatic overtones of a brutal experience. This duality between torment and joy illustrates the parallel lives of an artist who has always refused to cheat.

Then came the transition from brush to pen, isolation slowly imposing writing.

In the meantime, Serge, under the pseudonym Bassiak (va-nu-pieds in Russian), had passed on his tenderness and humor in a number of famous songs (Le Tourbillon (de la vie), Ma ligne de chance…) that delighted filmmakers François Truffaut and Jean-Luc Godard and their audiences, and today belong to a certain collective memory.

Les Années-Lumière (1967), Les Années Lulla (1968), Le Portrait ovale (1976) and Le Testament amoureux (1981) are passionate books that tell the story of their author’s life, and are among the milestones of Serge’s prolific literary and theatrical output, as he likes to call himself a multi-disciplinary artist. So, if painting is sometimes absent, it soon returns, for the author, nourished and enriched by the experience of writing, now knows that his hand can reveal what the brain doesn’t know.

Thus, in 1971, Les horreurs de la guerre électronique (The horrors of electronic warfare), presented at the Toiles sur le Vietnam exhibition at the ARC, the contemporary department of the Musée d’art moderne in Paris. These were large-scale canvases against the war then being waged by the United States in Vietnam.

Then there’s the formidable series of large canvases painted in 1974 and chosen to be shown in the still unfinished Centre Pompidou, a marvellous visionary declamation that can only be conceived as the paintings of someone who writes.

From then on, a subtle interplay governed the links between Serge’s painting and his writing. Thus, in 1992, following Repentirs, paintings from the 1960s reworked thirty years later, echoes the 1993 publication by Stock [of] Repentirs du peintre. Multi-disciplinary!

This fertile duality, appeased and tamed, finds one of its ultimate and sublime echoes in Les Réserves, initiated in the late 1990s, shortly before Lula’s death in 2004.

“I write as I paint, and I paint as I write,” says Serge Rezvani, a free man who has always refused to “live what I don’t want, in order to live what I don’t know.”

  • Serge Rezvani © Thierry Cohen
  • Serge Rezvani © Thierry Cohen



Groupe « Les Mains Éblouies »
Galerie Maeght – Paris

Groupe « Les Mains Éblouies »
Galerie Maeght – Paris

Groupe « Les Mains Éblouies »
Galerie Maeght – Paris

Galerie M.A.I. – Paris

Galerie Arnaud – Paris

Galerie Berggrüen – Paris

Galerie La Licorne – Bruxelles
Galerie Kléber – Paris

Galerie Diderot – Paris

Galerie Lucien Durand – Paris

Galerie Lucien Durand – Paris

Hanover Gallery – Londres

Galerie Saint-Germain – Paris
Galerie Cavalero – Cannes

Galerie Jacqueline Ramson – Paris
Galerie Cavalero – Cannes

Galerie Cavalero – Cannes

« Les horreurs de la guerre électronique »
Musée d’Art Moderne – A R C – Paris

« Les plages »
Centre Georges Pompidou (Centre Culturel du Marais) – Paris

OEuvres abstraites de 1947 à 1952
Galerie Callu Mérite – Paris

OEuvres abstraites de 1947 à 1952 – 2ème partie
Galerie Callu Mérite – Paris

« Repentirs » et « Blanches »
Galerie Lucie Weill & Seligmann – Paris

« Donna »
Galeria del Leone – Venise

« Ils croient jouer au football… » 
Galerie Guillaume – Paris


LaM -Villeneuve d’ascorbique
Musée de Nantes
Musée de Saint Etienne
Centre Pompidou

Stained glasses

Église Sainte Anne – Saint-Nazaire
Église Saint Nicolas – Oye-et-Pallet




Born in 1980 in Leeds (UK). Lives and works in Brighton (UK).

From a poor background, Mark Powell began working at the age of 11 to buy food and clothing and to help pay the rent of the family home. After working a number of jobs, he attended the English National University of Huddersfield for three years, studying drawing and painting – he graduated in 2006. On old and/or used paper – envelopes, road maps, subway maps, playing cards, newspaper sheets – the artist draws exclusively with a ballpoint pen (Biro), “the simplest and most readily available”. The artist, for whom the portrait is the major exercise, affirms: “The individual is a fascinating thing, of intrigues and scars. I reject a society fed with images of perfection”. His subject wants to question our common perception of “acceptable beauty”. It is a question here of transcribing less the physical aspect than a presence judged “brightness of the true”. This notion of beauty is never to be appreciated according to any aesthetic scale, it is not either to be situated in an idealism, but to be considered in a poetized realism. By its visible restitution of lived truths, it is for Mark Powell a materialized definition of “the beauty of the world”. The artist exhibits in the United States, Europe and England.

– Text Anne Richard / HEY! modern art & pop culture (Excerpt from the exhibition catalog HEY! The Drawing, 2022)



Group shows Hang Up Gallery, London, UK
Hang Up Ten Hang Up Gallery, London, UK
Justanothergallery, San Diego, USA
Solo show Castle Galleries Mayfair, London, UK
3 man show avec Shepard Fairey Subliminal Projects, Los Angeles, USA
Solo show Moniker Art Fair, London, UK
Solo show Graham Baker Gallery, London, UK 
2011 à 2014
The Other Art Fair, London, UK

  • Greater they say, 2022, Ballpoint pen drawing on a antique map of greater New York, 39 x 51 cm
  • The greatest city, 2022, Ballpoint pen drawing on a antique 1939 map, 74 x 67 cm
  • Never sleep and keep dancing, 2022, Ballpoint pen drawing on a antique map of New York, 42,5 x 81,5 cm
  • Along the Seine, 2022, Ballpoint pen drawing on a 1890s map of Paris, 89,5 x 64 cm
  • Heartstrings are ear drums, 2022, Ballpoint pen drawing on a collection of antique postcards, 55 x 61,5 cm
  • From hut to house through calluses, 2023, Ballpoint pen drawing on a antique map of the British Isles, 38,5 x 50 cm



Born in France in 1973 and graduated from the National School of Applied Arts and Crafts Olivier de Serres in Paris. Lives and works in Vallée de Chevreuse (78), a few kilometers from Paris.

From painting to drawing, including sculpture, the visual artist SylC places humanity at the center of her work. Strongly tinged with dreamlike elements, her work reveals our true identity, our paradoxes, our dualities… By frequently associating the human with the animal or the plant, the artist highlights the ties woven between beings and those we maintain with nature. She emphasizes hybridization and metamorphosis, symbols of the complexity of our personalities, but also of adaptation, renewal, and the perpetual evolution of our identity. The bodies are treated with delicacy and transparency, as if to better detach the soul from the corporeal envelope. SylC is also interested in the delicate transition from childhood to adulthood, the loss of innocence that ensues, and our gradual construction as individuals.

As if to awaken us further, the artist deliciously plays with our senses, using the space between the viewer and the artwork as a revealer. She seeks to evoke intimate sensations and perceptions in us, bringing forth emotions and deep feelings that suddenly make us so human…

Through this approach, SylC appeals to our unconscious and unveils what is not visible. Her work strives to trace back to the origin of things, embarking on a journey to the source where the sayable and the unsayable collide. Behind SylC’s ethereal and phantasmagorical visions, a certain reality is nevertheless discernible. But the artist encourages us, in the exploration of her mysterious work, to look beyond, urging us to discover new territories, infinite and still unknown to our perception.

SylC collaborates with galleries in France, Europe, and the USA. From the early 2010s, the artist dedicates a significant part of her work to several thematic projects, resulting in series such as Mothers, La ronde des chiens fous, Le parfum des saisons, Human Birds, Osmose(s), Avec ou sans cavalier, Deep into the Wild, and Reflet(s).

At the invitation of public institutions, her work has been featured in solo exhibitions, including at the Chapelle and Cloître des Dames Blanches (City of La Rochelle), the Chapelle des Jésuites (City of Chaumont), and the Château d’Eau (City of Bourges).

Present in public collections (FDAC de l’Orne, Cities of Le Mans, La Rochelle, Maisons-Laffitte, Guyancourt) and private ones, SylC is the recipient of numerous awards in Switzerland and France, including two from the Fondation Taylor. Four monographs have been published on her works in recent years.


Reflet(s), Loo & Lou Gallery, Paris, France
Un autre monde, Centre André Malraux, Le Pecq, France
Présence(s), Conseil départemental de l’Orne, Alençon, France
Galerie Paragone, Bergues, France
The Artistic red dot Gallery, La Saunerie, Parcé-sur-Sarthe, France
Comparaisons, Grand Palais Éphémère, Groupe “Résonances intérieures”
Supplément d’âme, Mairie de Bordeaux, cour Mably, Bordeaux, France
Les liens subtils, Galerie Openbach, Paris, France
Art Fair Lyon Art Paper, Lyon, France
Chapitre(s), Natacha Dassault Art Gallery, Paris, France
A season in Naxos III, Petalouda Art Gallery, Naxos, Greece
Collection du FIAA – Fonds international d’art actuel, Le Mans, France
A season in Naxos II, Petalouda Art Gallery, Naxos, Greece
Poésie, Galerie Estelle Lebas, Lille-Haubourdin, France
Art Fair Lyon Art Paper, Lyon, France
Avec ou sans cavalier, Centre Ianchelevici, Maisons-Laffitte, France
A season in Naxos I, Petalouda Art Gallery, Naxos, Greece
Art Fair Lille Art Up, Galerie Audrey Marty (Saint-Malo), Lille, France
Osmose(s), Galerie Olivier Rousseau, Tours, France
Résonance(s), Galerie d’art actuel socles & cimaises, Nancy, France
Works on paper, Galerie Audrey Marty, Saint-Malo, France
Humanimale, Chapelle des Jésuites, Chaumont, France
Ethereal Visions, Art in Gstaad Gallery, Gstaad, Switzerland
Gosti & SylC, Galerie Au-delà des apparences, Annecy, France
Human birds, Espace Saint-Pierre, Avallon, France
SylC, Hall Spassov Gallery, Seattle, United-States
Invited Puls’art, Pavillon Monod, Le Mans, France
Le parfum des saisons, Chapelle des Ursulines, Lannion, France
Trois expositions dans la ville, Chapelle des dames blanches, Cloître des dames blanches & Hôtel de Ville, La Rochelle, France
La ronde des chiens fous, Le Château d’eau, Bourges, France

  • Deep into the wild (II), 2021, Acrylic and oil pastel on canvas, 100 x 81cm
  • Solaire, 2022, Acrylic and oil pastel on canvas, 130 x 97 cm
  • Reflet nocturne, 2022, Acrylic and oil pastel on canvas, 100 x 100 cm
  • Reflet(s) XII, 2022, Acrylic and oil pastel on canvas, 130 x 195 cm
  • Deep into the wild, dessin #7, 2021, Graphit, charcoal, acrylic, color pen and oily pastel on paper, 40 x 30 cm
  • Reflet(s) XVII, 2022, Acrylic and oil pastel on canvas, 61 x 50 cm


Written by Matthew Hong on . Posted in artists.

Flo Arnold, Installation, papier hydrofuge sur laiton gainé, led, 600 x 340 cm, 2018 © Flo Arnold


Flo Arnold was born in France and grew up in Casablanca, Morocco. She currently lives and works between Morocco and France. She has had many solo shows in France and abroad, notably at the Marrakesh Biennial in Morocco in 2014 and in 2016, and at the Loo & Lou Gallery in Paris, France in 2018. She also presented with the Loo & Lou Foundation in 2018 the monumental installation Le secret des signes during “Nuit Blanche” at the Church of Saint Paul in Paris, France. Additionally, Arnold participated in several group shows, including ones at the Foundation Pierre Berger and the Institut du Monde Arabe in 2013, at the Musée de la Palmeraie in Marrakesh, Morocco, in 2014, and at the Institut Bernard Magrez, in Bordeaux, France, in 2017, among others.

The crossing of cultures is a key element in her work and has been forged by her many trips through Africa, Europe, and the United States. Her installations display an existential nomadism with artistic gestures that are born from her journeys. In 2016, she participated in the Biennale de Marrakech, where she exhibited her waterproof paper on coated brass installations for the first time at the Musée de la Palmeraie. 

Her creations are often backlit and sometimes supplemented with sound. She uses Japanese white paper to suggest ephemerality and fragility, but also a kind of evanescence emphasized by the appearance of levitation. Arnold’s sculptures indeed appear to be floating, and create a space for contemplation and spirituality. 

“My life is the story of earth and encounters, my identity ‘citizen of the world’. My childhood influenced my artistic research, always in motion, changing countries, houses, cultures. I’ve learned a lot from the people around me.”

In the Loo & Lou Atelier, she installed a piece in situ entitled Vertige du Monde. A germination of organic, backlit paper devoured the space as if it were overgrown vegetation, that was accompanied by a soundtrack. The interior space disappeared under a spotless “waterfall.” With this piece, she emphasized that in order to forget the dizziness of the world around us, we must live in a sphere without borders nor limitations in the search for our inner peace.
More recently, his installation “le sens des mondes” was presented in 2023 at the “Constellations” international festival in Metz.


Fondation TGCC / Room Mate Collection / First Prize – JustMad2019 / Arts Garden, City of Marrakesh/ Mamda Foundation, Rabat / Saadi Palace, Marrakesh / BMCE BANK, Marocco / Société Générale, Morocco / CNIA Insurance / San Francisco Food Bank / The Royal Palace, Morocco / Palmeraie Museum, Marrakesh


Mon Maroc “Je croyais rêver”, E. Delacroix, Loo&Lou Gallery, Paris, France
Constellations, Art & Jardins, Portes des Allemands, Metz, France
Fondation TGCC, Casablanca, Morocco
Abla Ababou Gallery, Rabat, Morocco
Abcynth Gallery, Lille, France
Palm beach Modern + Contemporain, Bogena Gallery, Miami, United States of America
International Paper Art Biennial, Haacht, Belgium
Art Fair, Aquilaluna Gallery, Brussels, Belgium
Château de Montaigu, 6 weekends d’Art Contemporain, Nancy, France
Bogena Gallery, Saint-Paul de Vence, France
Thema Gallery, Casablanca, Morocco
Aquilaluna Gallery, Dalhem, Belgium
Christine Colon Gallery, Liège, Belgium
Abla Ababou Gallery, Rabat, Morocco
ARTPARIS Bogena Gallery, Grand Palais, Paris, France
Art Fair JustMad, Loo&Lou Gallery, Madrid, Spain
Les Nébuleuses, Mairie de Guyancourt, France
La Transparence des Choses, Le Prieuré de Pont Loup, Moret sur Loing, France
ARTPARIS, Grand Palais, Loo&Lou Gallery, Paris, France
La bel FRICHE Gallery, Nogent-le-Rotrou, France
Art Fair JustMad, Loo&Lou Gallery, Madrid, Spain
Galerie Noir sur Blanc, Marrakech, Morocco
Nuit Blanche, Fondation Loo&Lou/Mairie de Paris, Paris, France
Loo&Lou Gallery, L’Atelier, Paris, France
Le Clos des Cimaises, St Georges du Bois, France
Abla Ababou Gallery, Rabat, Morocco
Organic, Aquilaluna Gallery, Knokke le Zoute, Belgium
Exhibition, 6.4 Gallery, Marrakech, Morocco.
Macparis, group exhibition, Bastille Design Center, Paris, France
Un pas de côté, group exhibition, Église des Célestins, Avignon, France.
Never Give Up, group exhibition, Institut Bernard Magrez, Bordeaux, France.
Effleurage, group exhibition, space Souffle, Casablanca, Morocco.
Les instants vidéo. État d’urgence poétique, Friche la belle de mai, Marseille, France.
No boundaries, 29 Gallery, Évian, France.
Biennale de Marrakech, Musée de la Palmeraie, Marrakech, Morocco.
Guest of honor, group exhibition, Fauv’Art, Ferney Voltaire, France.
Group exhibition, Arielle d’Hauterives Gallery, Bruxelles, Belgium.
Songe de matières, exposition de sculptures, Espace Expressions CDG Gallery, Rabat, Morocco. 
Biennale de Marrakech, Yahin & Boaz Gallery, Marrakech, Morocco.
Insoumission, Musée de la Palmeraie, 2ème forum international des droits de l’homme, Marrakech, Morocco.
Pop Up, Vogelsang Gallery, New York, United-States of America.
Exhibition, Saint James Gallery, Bordeaux, France.
SYRIART, Fondation Pierre Berger, Institut du Monde Arabe, Paris, France.
Noir sur Blanc Gallery, Marrakech, Morocco.
Loft Art Gallery, Casablanca, Morocco.
Biennale de Marrakech, Marie Vitoux Gallery, Paris, France
Biennale de Marrakech, Loft Gallery, Casablanca, Morocco.
Exhibition, Loft Art Gallery, Casablanca, Morocco.


Vertige du Monde
Exhibition from 26.04.18 to 09.06.18
VIDEO : Footage of exhibition, Vertige du Monde


Written by Matthew Hong on . Posted in artists.

Collision, huile sur toile, 146 x 114 cm, 2018, © Christophe Miralles

Christophe Miralles

Christophe Miralles is a Franco-Spanish artist who lives and works between Burgundy and Casablanca. He has received many prizes such as the Azart Prize in 2005. His work has been the subject of numerous monographic exhibitions in France and abroad, integrating various collections.

From his roots in Morocco, one can note the influences that resonate between the two shores of the Mediterranean, which never cease to collide with one another. Undoubtedly, Spanish painting from the Golden Age has sealed his relationship with light.

Human figures suspended in the air haunt his canvases, inducing feelings of worry mixed with a certain nostalgia. The combination of simplified forms and subtle nuances in colors allows him to give a timeless aspect to his paintings, where the material is the main subject.

Miralles creates oil and lacquer paintings on paper and canvas. He brought together a series of paintings for an exhibition at Loo & Lou gallery entitled Territoire Unique in April 2018. His work is based on themes of humanity, travel, and tolerance. Colors burn through his canvases, engorging them in flames, with the ashes slowly falling on his large, black papers. He is a painter anchored in contemporary society, a territory that he hopes is unique for each person.


Grand prix Claire Combes, Fondation Taylor / Grand prix Azart / Prix Charles Oulmont – Mention du jury


Mon Maroc “Je croyais rêver”, E. Delacroix, Loo&Lou Gallery, Paris, France
Ories Gallery, Lyon, France
Point Rouge Gallery, Saint Rémy de Provence, France
Art Fair JUSTMAD Madrid avec Loo&Lou Gallery, Madrid, Spain
Aquilaluna Gallery, Dalhem, Belgium
Crid’Art Gallery, Metz, France
Marie Vitoux Gallery, Paris, France
Noir sur Blanc Gallery, Marrakech, Morocco
Le Prieuré de Pont Loup, Moret sur Loing, France
Art Fair JUSTMAD Madrid avec Loo&Lou Gallery, Madrid, Spain
Thema Gallery, Casablanca, Morocco
Danielle Bourdette Gallery, Honfleur, France
Loo&Lou Gallery, Paris, France
Le Clos des Cimaises Gallery, St Georges du Bois, France
Crid’Art Gallery, Metz, France
Effleurage, Espace souffle, Casablanca, Morocco.
Group exhibition, Thema Gallery, Casablanca, Morocco.
Exhibition, Marie Vitoux Gallery, Paris, France.
Exhibition, Bresson Gallery, Béziers, France.
Exhibition, Collection (1.0), Charnay, France.
Biennale de Marrakech, BAB, Marrakech, Morocco.
Prix Tony Tollet, group exhibition, Ecully, France.
Biennale de Cachan, Cachan, France.
Group exhibition, Contemporary art center, Serviès en Val, France.
Group exhibition, Dar El Kitab Gallery, Casablanca, Morocco.
Group exhibition, Soart Gallery, Casablanca, Morocco.
Exhibition, Melting Art Gallery, Lille, France.
Art up, contemporary art  fair , Lille, France.
Group exhibition, Chantal Mélanson Gallery, Annecy, France.
Group exhibition, Dar El Kitab Gallery, Casablanca, Morocco.
Group exhibition, Egregore Gallery, Marmande, France.
BAB draw, Gueliz, Marrakech, Morocco.
Group exhibition, Crid’Art Gallery, Metz, France.
Exhibition, Marie Vitoux Gallery, Paris, France.
Exhibition, Christine Colon Gallery, Liège, Belgium.
Exhibition with Flo Arnold, space Chapelle Saint Avoye, La Clayette, France.
Biennale de Marrakech, Yakin&Boaz Gallery, Marrakech, Morocco.
Insoumission, Musée de la Palmeraie, Marrakech, Marco.
Group exhibition, Danielle Bourdette Gallery, Honfleur, France.
Group exhibition, Martine Ehmer Gallery, Bruxelles, Belgium.
Group exhibition, Dar El Kitab Gallery, Casablanca, Morocco.
Biennale de Marrakech with the Yakin&Boaz Gallery, Marrakech, Morocco.
Genèse, group exhibition, Fondation Taylor, Association Rémanence, Paris, France.
Les Arts en balade, guest of honor, Chapelle de l’Hôpital, Clermont Ferrand, France.
Exhibition, St James, Bordeaux Gallery, France.
Palindrome, exhibition with Florence Arnold, Yakin&Boaz Gallery, Casablanca, Morocco.
Exhibition, Marie Vitoux Gallery, Paris, France.
Exhibition, Didier Bresson Gallery, Béziers, France.
Exhibition, Danielle Bourdette Gallery, Honfleur, France.
Exhibition, Le Soleil sur la plage Gallery, Lyon, France.
Exhibition, Le Clos des Cimaises Gallery, St Georges du Bois, France.


Written by hautmarais on . Posted in artists.

Justa, 2019, Bois de chêne polychromé, 300 x 170 x 120 cm © Cedric Le Corf


Cedric Le Corf was born in 1985 in Bühl, near Baden-Baden (Germany), he lives and works in Brittany, in the Morbihan region. He graduated in 2009 with honours from the École Européenne Supérieure d’Art de Bretagne in Lorient.

The anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards have resurfaced over time as an inspiration for Le Corf’s work. Little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess a kind of “skin” and with it, the ability to be flayed. Is it not true that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The slightest roughness in bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; muscles, like the clay of Genesis, model gorges and mounds.

Using 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. It thus opposes the raw element of chaos to 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 a motif, to deafen the subject that the sculpture, the painting, or the engraving contains.

He has done several artist residencies, including the Dufraine Foundation in Chars, Académie des Beaux-Arts 2016-2018, the Spitzberg Expedition Residency 2017, Member of the Casa Velasquez in Madrid 2018-2019, and the Miro Foundation in Palma de Mallorca 2019.

He received the Georges Coulon Prize (sculpture) from the Institut de France, Académie des Beaux-Arts in 2017.

He has participated in numerous solo and group exhibitions in France, Germany, Spain and Belgium.

Private collection (Lambert collection)


Written by hautmarais on . Posted in artists.

“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 and his first book Et il n’est plus de place alors pour la peur will be published in September by Cahiers Dessinés.


Written by Matthew Hong on . Posted in artists.

Lydie Arickx

Lydie Arickx is a painter and a sculptor who was born in 1954 in France from Flemish parents.

After graduating in 1978 from the École Supérieure d’Arts Graphiques de Paris (ESAG), she had her first solo exhibition of pastels and oil paintings in 1979 at Jean Briance Gallery. Since the beginning of the 1980s, she has participated in international events such as Art Basel, FIAC, and Art Paris. In 1988, she presented her work in Belgium, Switzerland, Germany, the Netherlands, Spain and the United States with a group exhibition at Amaury Taittinger in New York in which her work was presented alongside pieces by Francis Bacon. In 1991, she moved to Landes and worked on large forms and pursued the creation of monumental sculptures. In 1999, for the 800th anniversary of the Jurade of Saint Émilion, Arickx presented a double personal exhibition in the cloister of the Monolithic Church. Arickx regularly organizes cultural events in theaters, such as the Art Sénat 2001, which meshes contemporary art and live performance, while also hosting creative workshops for schools and businesses.

Arickx’s pieces have been incorporated into major international public collections, including the Museum of Modern Art in Paris, the Pompidou Center, Palais de Tokyo, Fonds National d’Art Contemporain, as well as in public spaces such as the Paul-Brousse Hospital, the Intercommunal Hospital Center of Créteil, the IUFM of Mont-de-Marsan, the MACS Saint-Vincent-de-Tyronne, and a fresco for the commemoration of the centenary of the arenas of Dax in 2013. Arickx’s studio is a source for experimentation, where she likes to share with all audiences. 

In 2014, she published her first book, Nous vivons, with Diabase editions. In May 2015, Arickx filled the city of Roubaix with four large exhibitions that paid homage to her family roots, one of which was at the Piscine, a museum for art and industry, with a monumental fresco that measured up to 200 meters long. The following year, filled with experience from Roubaix, Arickx was invited by the Center of National Monuments to create two monumental performances with one exhibition in the room for the Gens d’armes at the Conciergerie in Paris and one installation at the Expiatory Chapel. In 2017, for her first collaboration with Loo & Lou, she exposed her work during the exhibition “Gravité,” which took over the gallery’s three spaces. In 2018, she participated the exhibition, Tant qu’il y aura des Ogres, which included more than 500 works around the theme of the fairytale. Later, in 2019, she exhibited work alongside Niki de Saint Phalle and other female artists for  « Créatrices – L’émancipation par l’art », which was held in the Museum of Fine Arts in Rennes.

Her exhibition Arborescences was on view at the National Domain of Chambord, another architectural and historical gem, in 2021. Arickx used different themed rooms to transform the architecture of this historic monument with a transfigured vision of living beings. For more information, please click here.


Written by hautmarais on . Posted in artists.


Elisabeth Daynès was born in Beziers, France in 1960. She currently lives and works in Paris. In the early stages of her career in theater, she was fascinated by questions of identity and metamorphosis. From the 1990s, this passion led her to painstakingly recreate the bodies of prehistoric hominids, on which she had based the most advanced scientific knowledge. She thus 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. Through her work on origins, she invites us to the question the appearance and faces of humans, today and in the future. 

Today, the artist brings reflection about identity, the significance of the skull, and the face, from our origins, to today, until the future. Using a wide variety of formats, materials, and treatments as well as reimagining and recreating the skull’s patterns, she shows all the faces we could have had, and that we will have one day, if such is our desire as artists. The skull is at the beginning and the end of all things, framing the base of each one of our identities. It is the part where the skeleton is the most salient.

Her collection of flayed in relief underlines the aspects of a plural and abundant humanity. Insisting on the miraculous moment when the flesh covers the bones, magnifying the muscles of the face and expressions. She invites us to an extraordinary one on one with five characters searching for an identity.

Elisabeth Daynès also wants to show that at a time of social media and omnipresent imagery, anyone is hence free to invent an infinite amount of narcissistic mirrors: the border between the real and the virtual, the artificial and the natural is now blurred. Her art toys discontinuously with science because science plays a big role in our imaginary.  

In this day and age, physical appearance and the perpetual search for perfection has become an obsession. The idea of changing one’s nose or mouth for a professional meeting or a dinner among friends does not sound so far-fetched in today’s world where technology has taken over biological evolution. 



Written by Matthew Hong on . Posted in artists.


Arghaël became fascinated by the human body while working as a film director, capturing life through the prism of cameras and editing rooms. In searching for a more personal mode of expression, he turned to charcoal and canvas to explore raw human intimacy. He studied charcoal drawing with live models at the Beaux-Arts University in Paris to develop his skills. 

Arghaël’s work questions the mystery of the flesh, frontally probing the unconscious and ultimately giving birth on canvas with the stroke of his hand. His charcoal drawings capture flesh and bone in their bare essence. Drawing his men and women on the walls of what he calls his “mental cave,” or the canvas laying before his eyes like a second skin. 

At times, his oversized subjects and their evanescent faces seem to be floating in space, evoking a kind of newfound freedom. Arghaël’s creatures rise to life before us and become metaphors for his creative process. His graphic approach, similar to compositing, allows telluric flashes that are amplified by warm pastels and oil paints. Arghaël uses charcoal to capture flesh in a primitive expression and gives in-temporal elegance to his larger-than-life creations. In 2016, Loo & Lou Gallery exhibited his very first solo show.


Written by Matthew Hong on . Posted in artists.



Tanc was born in 1979 in Paris, where he currently lives and works. 

What characterizes him is the uniqueness of his style, which becomes more easily understandable when we learn that Tanc grew up with graffiti. He believes that street art is ephemeral and that the action can be more important than the result. For him “to be an artist is a way of life”, therefore there must be total investment and absolute integrity. At the beginning of the 2000s, he focused on studio work and immediately distinguished himself from traditional graffiti artists through his work based on the line, researching synthesis. First using his name, then tags in general, then people, music, and finally, his favorite subject: life.

Essentially based on the line, his work is not aiming to be perfect, but spontaneous. The state he is in defines his density and rigor. His heartbeat activates his arm like a metronome, though he doesn’t try to control this flow but just to understand the composition that he makes appear in balance between the conscious and unconscious. He composes his music and his paintings in a similar way.

He is dense or light, rigorous or unstructured, but Tanc does not play; he lives his art. He signs his paintings with “Tanc” as he has signed walls with tags since his teenage hood. This discipline is first and foremost an instinctive outlet of his need for expression: he reappropriates himself urban spaces by shouting his name to the city with force.

Soon, the letters disappear and Tanc engages in exploring abstraction. By concentrating his work on lines and colors, he renews the classical pictorial research by confronting it with the primary vivacity of street art: preponderance of action, perfection of gesture, acceptance of chance and expression of a strong singularity. Above all, his works strikes with their intensity, their musicality, and the vibration of lights and materials. The action, energy, and emotion of the artist touches the spectator in a sensual, intimate, and immediate way.

Tanc has numerous group and solo exhibitions, notably in Germany (Skatlizers Contemporary Art), New York (Catherine Ahnell Gallery), England (The French Art Studio) and Morocco (David Bloch Gallery). He also participated in the Mois de la Francophonie at the French Institute of Beirut in 2013.


Though it may seem subjective, could you describe your path?

It started during my childhood when I discovered painting through different ways… One of them spoke to me, it was graffiti, and I decided to work with it. I started by painting abstract shapes, lines, colors, and effects… until I earned my place in the milieu by writing my name.

During the 2000’s, I started to have shows, along with the newly found passion of public for Street Art. I had recently graduated with a master’s degree in artistic direction, and I had to make a choice between living by reason or living my dreams… I chose my dreams. After meeting Jean Faucheur and the group focused on poster collages Une nuit, I gathered my VAO friends to invest a workshop at la forge in Belleville. Exhibitions followed at a regular pace, with first trips, residencies… I didn’t earn much money, but it seemed so easily earned in the face of the life I lead. I painted and I partied, everywhere and all the time. I wanted to live it all! Seven years have gone by, and I left with Atlas in a new workshop in the Lilas. It was a new era. I became braver, more serious, and more professional. The dream came true, I had to consider new goals. It was six years ago. Nowadays, I follow my path in the art world through exhibitions and encounters. It’s funny how the closer I get to my goal, the longer the road seems to be. Life is a performance!


Your work shows a peculiar interest for gesture, what influences are hidden behind this interest?

Even though my heart belongs to several types of artistic representations, I feel closer to Action painting and lyric abstraction. In my opinion, the emotion that its practice provokes has no equal. Within it, gesture prevails and is singular. It is, even in a well-established scheme, the human touch, painter’s transmission to the viewer through the ages. Eternally frozen instants. It’s this intimacy I crave in the gesture.


For you, action mostly prevails on result, at which step of your creation do you chose to focus on one or another?

Action prevailing on result became a philosophy to me. It’s the beginning of my production. I think that too much knowledge and reflecting on Art history and too much thinking to find a new concept to get along the institutional art in France (contemporary art) parts in a reflection that is rarely constructive. I am a conceptual painter, but the relationship to material is primary to me. I do not agree that the idea is enough to be an artist and that production is solely craftsmanship. Action is concrete. It does not play, crumbles dreams and brings maturity. 

Result is determined more like an adequacy between the idea I have of the used tool and its final production. I will still find enjoyment during the action in finding little hazards that will give the result’s prestige. Furthermore, it will be praised and hated, sometimes by the same people at the same time. The “beautiful” being bygone in contemporary art, tastes evolve through concepts and processes. Mine being to privilege unconscious in my creation. I prefer to think to the result before and after the action. 


First lettering, you then went towards more abstraction, was it the logical follow-up of your approach?

My research, since I’ve been working in studio, goes towards abstraction, I find more emotion. In the street, it’s different. Letters impact has another meaning. But boarders remain blurry for me. When does a letter become an abstract form? This is where I play to find limits by integrating new inspirations from my travels. Going back on my traits, scraping the canvas, creating volume, deepness and pictural vibrance. 

It is important to remember that my approach is to paint with my unconscious expressing itself. Kind of a state between trance and meditation, like a therapy to me (a bit like Sam Francis sometimes ago).

The more I give up to spontaneity, the more I let myself go, the more well-executed the painting will be (beautiful). Self-confidence is key. Like the calligrapher, I repeated my gesture, I must be sure, not think. Only appreciate hazards of the shapes appearing. 


Does experience influences your work? how does it feed your creation and reflects in your works?

Experience influences my work through my being, intellectually today, physically tomorrow. I think about Hans Hartung that I love. Self-confidence comes with time. Sensations brought to me by life often had impacts on my painting. I think again of breaks up that were interesting and useful in a pictural point of view. I like my painting to reflect my life. My Variations serve is the perfect example. One trait with a single gesture summarizes my emotional state by filling the canvas. Like an electrocardiogram of the lived moment during the action. 

Which artists have been of major importance to you in your artistic research or caught your eye recently?

I started to want to paint by discovering graffiti and artists like Dondi and Futura 200. Then, I got interested into Art History and Abstract Expressionism and New York School. From Franz Kline’s action painting to Mark Rothko’s fulness. It was done, my art would come out of these two movements. Following this, artists like Bernard Frise, Simon Hentaï, Henri Michaux or Christopher Wool inspired me. For the past 4 years, I’m also fond of Korean painting, Dansaekhwa with artists such as Park Seobo, Chung Chang Sup, Lee Seung Jim, Lee Bae…

I also have an eye on the future and follow a lot what my generation does. Artists like KR, Pablo Tomec, Erosi, Revok. There’s so many of them…


We often talk about your synthesis; can you tell us more about it?

I started working on tags synthesis, or rather their energy. I wanted to transcript without reproducing canvas already done in the 80’s.

Through this, I realized that I could synthesis lights, emotions, frequencies surrounding me with traits and colors. 
Synthesis pushed me towards minimalism, then towards maximalism (reproduction of the same pattern on a whole format).


Do you think that collaboration between artists plays an important role in your practice? (You share your studio with Atlas, but also in the world of street art, crew, etc.)

Collaboration between artists is important on a morality pov. We often feel isolated, tormented to know if our art is raising and will raise enough enthusiasm for it to be conserved and restored. In this way, it is necessary to discuss on our thoughts and to celebrate our successes. Being recognized by our equals and colleagues is more important to me than a few sold paintings. 

About creating artworks with others, I am quite skeptical…Except for some projects with Steph Cop for the 2016 Marrakech Biennial or Atlas with whom we share our reviews to create four-handed paintings. It is often difficult to share instead of competition. Artists have strong egos, it’s not always easy to deal with…


You are often linked with the Graffuturism movement, do you think you belong to it?

I really don’t consider myself in any movement, future will do its thing…

I believed in the beginning in Graffuturism because I thought that Street Art (that is originally a 20-persons group in the world) had become a niche where we put everything and anything.

Unfortunately, it quickly became the same. Basically, these movements which come from artists stemming from the graffiti having had a reflection to lead on a new form of art are polluted every time by pushy artists. No background.


Do you set limits for yourself in the use of mediums? 

I have only their mastery as limits. 
As an autodidact, I tested a lot of things. Often with success, sometimes with failures, often with time. That lead me to their utility. Nowadays, I still do research but do not hesitate to call a specialist to learn. It is important to know our abilities. Use’s orientation of a tool and the importance of being assisted or not. I started to paint with spray cans 20 years ago et it remains, by far, my tool of choice. It is an extension of me. Painting without touching the medium, it’s an unmatched feeling for me. 


How do you see the institutionalization of artistic practices (or yours even more) in urban field?

I am in favor of artistic practices recognition by institutions, museums as much as in the public space. But I am also a defender of wild action, often illegal ones. The risks taken and the speed of execution give a more romantic touch, to my liking. You do not forget that I privilege action over result. In cities, people need to evade, art is a really good way to do so. I think of the happiness I have to walk past graffities since I’m a child. It changed my life.
Institutions follow today with the Art market. With the speculative rise provoked by Street art, we expect to see a lot more of it. It was already showed in the Grand Palais, at the Palais de Tokyo and at the Pompidou Center…

It’s the path of every practice and every artist. Then, it’s all cycles. There will always be young people who will emerge and break all the established boarders for art not to be institutional. Art is generational, everybody has theirs. 


The idea of the vandal spraying a tag, is it still the case, or is it more of an imaginary attached to this practice? 

You can’t cheat with paint and even less with tag. It’s easy to know who does what, you just have to get out on the street. So, no! There is nothing imaginary. I’m far from being an addict than some people or even younger people. Illegally writing your name brought me where I am, and I want to remain sincere with my approach (I’m not talking about the pleasure I have from doing it).

Truth is that it brings a strength to my studio work that I lose if I don’t come back.


You are also a musician, does all of this it has a common point in your creation, or can you tell us more about it?

I was always mesmerized by music! It’s the easiest art to appreciate, no need to intellectualize. We can feel it physically. Everybody will give you an opinion on a piece or on a musical genre…But, playing as an autodidact is quite difficult. I had to find the right instruments to practice by myself. During the early 2000’s, music was mainly produced by computer. Weary of having worked with it too much during graphism studies, I look for different options in the Pigalle music shops. I decided to buy a first machine (sequencer, drum machine, synthesizer). I am fascinated to work on live music. To feel the electricity becoming frequency, ripple, note…Without knowing it, this research is influencing my painting in my search for abstraction and completing my character. I will then not stop to work simultaneously on both subjects. I often say that my arm is actioned by my heart like a huge metronome transcribing my emotions. I paint my internal music.


What are your ongoing projects or collaborations, exhibitions, new works to come?

I am still working on several series of paintings, some will be visible soon, some others in a few years.

To see some, it is currently at the Loo & Lou Gallery in Paris, then starting from the 18th of January with Atlas at the COX Gallery in Bordeaux. In February, at the Brugier Rigail Gallery for a collective exhibition and during spring in Germany for the Urban art Biennial.
For collaborations, the Olivade fabrics will drop three patterns of my creation and I have ongoing projects of parquet and carpet editions.
Several books, lithographs and serigraphs are also ongoing.


Do you have a place where you would like to exhibit/ work?

I feel really close to Asia even though I already exhibited and worked there, I think it is where my heart would guide me currently. Otherwise, New York and Paris remain the best places to catch up with trends and to try to insert yourself in the artistic world.


What is art for you (starting with: “to me, art is…)?

To me, art is the possibility to transform actions and materials in reflection. To question and federate people on the world that surrounds us. Art is a religion nowadays, and big shows are masses where everybody rushes to, looking for answers and mysticism.

But to me who’s in the action, it’s above all a balance and a therapy. My reason to live.







Written by hautmarais on . Posted in artists.


Anna De Leidi lives and works in Udine, Italy.

As a teenager her interest focused mostly towards modern art and art history. So she decides to pursue a degree in art history. During her studies she develops a passion for collage art, 20th century avantgardists and Neo-avant-gardists, whom she admires, identifing herself with their defiant political attitude and their anti-establishment manners and techniques.

After graduating with a dissertation on the Moma 1961 Exhibition “The Art of Assemblage”, she leaves Turin, where she was living, to travel outside of Italy. Europe at the time felt stuffy and saturated with too much known history, so she decides to move very far, in search of a completely different scenario. She spends eight years in Australia, where she becomes independent and learns new skills that were lacking in her studies; she picks the culinary field and worked in cheffing, moving further away from my previous experience and immersing herself in another culture to fully be part of it.

When Covid-19 hit Australia and bans were put in place, De Leidi finds myself forced at home, browsing through books and magazines and spontaneously starts cutting and pasting to create collages. It became a fundamental daily practice. She then uses Instagram as a medium to meet and gather around a virtual community of collage artists and put up her own gallery, “Coll_usional”, discovering new ways of connecting through art at a time of anguishing isolation.

Through 2020, making collages enabled her to express and rediscover parts of her identity that were left dormant for some years and fuelled both a personal and artistic growth that eventually led her to decide to move back to Italy.

The creative process is quite simple and usually begins with a gut feeling: the instinctual selection of an image, often a human figure, and grows by associating shapes and colours to that core image, often in relation to music lyrics or other sentences that keep bouncing around her head as she cuts and pastes, and become an obsession. The outcome of the composition is not really predetermined, but it unfolds and finds it flow as she goes along. Through a particular scene, which often has some levels of personal references, she always tries to convey the sense of the universal meaning of human experiences.

Since her return to Italy, Anna De Leidi has mainly focused on grassroot activism and d.i.y. practices. She has contributed to various collage magazines, both printed and online and co-founded a collage collective called Arto. Her major artistic achievement so far has been having her works being exhibited in a group show called “A Visual Culture” (March 24, 2021 — April 4, 2021) at Van Der Plas Gallery, N.Y.


Written by hautmarais on . Posted in artists.

© Dominique Lacloche

Dominique Lacloche

Dominique Lacloche was born in 1960 in Rome. She currently lives and works between Paris and London.

Lacloche’s practice consists of printing silver gelatin photographic images onto giant Gunnera Manicata leaves. The leaves of this South American plant are distinctive for their disproportionate sizes, measuring up to 2 or 3 meters across, making the plant extremely precarious to handle.

This unique plant and photographic technique converge by virtue of light – the unpredictable nature of organic and chemical “life” plays out in her work through photosynthesis and photographic revelation. The image passes through delicate, unpredictable phases and her artistic gestures yield to the force of external events that impose themselves like natural laws.

The size of the leaves accentuates the subject of the image and transports the viewer to a world where the monumental dictates its own laws. The leaves become a support for an image, part of an installation, or a pretext for other image manipulations with the negatives or through superimpositions, for example. The spatial arrangement and clarity of these giant leaves create a challenge for the artist to strike the right balance.

The images revealed on the leaves are typically landscapes reflected in water. At this scale, the landscapes are all-encompassing and poetic; they absorb the viewer in their reflections. The images become fleeting landscapes of emotion, due to the salience of the work’s spatial disposition and the material on which the images are printed. However, like apparitions hovering between the infinitely elusive and the infinitely intimate, what is communicated either faintly or clearly through the veins of the leaves is akin to visions of “another world” that could be strangely familiar to the viewer.

Lacloche’s artistic work is enhanced by her visions while painting and of architecture, two disciplines that she has studied and practiced for many years. Equally interested in evolutionary and organic temporal systems, Lacloche has additionally explored these themes through film, digital animation, sound design, and electroacoustic music composition.

Lacloche’s works are present in several private collections around the world.


Written by Matthew Hong on . Posted in artists.

Paul de Pignol

Paul de Pignol was born in Toulouse in 1965. He currently lives and works between Paris and Montigny-sur-Loing.

In 1984, he entered the National School of Fine Arts in Paris, where he worked in Pierre Carron’s painting studio. He created his first sculpture, inspired by the Venus of Lucas Cranach, entitled “Fille au Ballon” in 1989. Little by little, sculpting was integrated into his practice.

In 2010, de Pignol decided to dedicate a specific workshop to drawing in Paris, establishing a link between the two disciplines a short time afterwards. Whether sculpting or drawing, de Pignol plunges into an intimate essence of the being. He focuses his work on feminine figures, linking them with universal themes of birth, life, and death. Throughout his study of the female figure, he began questioning its function, weight, and composition, as well as its deconstruction and presence both of the interior and exterior.

De Pignol’s paintings are an extension of his work and research as a sculptor. His gestures are similar, wherein he erases matter in order to add light, stroke by stroke, giving his unravelling bodies a spectral presence.

Since 2017, after years of failure, rejection, and wandering, de Pignol found pictorial language relative to his research. One of his recent exhibitions at Loo & Lou Gallery, Né du limon, is the result of this quest. With a fascination for landscapes, the artist is inspired by the Fontainebleau forest that surrounds his studio. The idea that any life can be birthed from decay fascinates him, and inspires him to create organic and living landscapes, where you can feel the turf and soil. We are close to Golem. This exhibition reunited for the first time drawings, sculptures, and canvases, in what represented for the artist a joyous and fertile renewal, thanks to both the subject matter and the use of multiple medias.


Written by Matthew Hong on . Posted in artists.

Untitled 6, 2022, Acrylic, grass, clay, and mixed media on canvas, 160 x 130 cm © Olivier de Sagazan


“For those unfamiliar with Olivier de Sagazan’s work, it can appear rather morbid and provocative at first glance. He sees his creations as a way to shake up our conscience and to underline the exceptional character of life.

For our first collaboration with the artist in 2016, we hosted his performance “Transfiguration” as a preamble to his exhibition. It consisted of a one man show, in which a man in a suit arrived on stage and gradually entered into a form of trance to disfigure himself, sometimes vociferating, and used clay and paint to cover his face and body.

This confrontation produced a certain effect on the public. After the performance, I still remember seeing some quasi-bloodless faces amongst our guests. A friend that I met in the crowd also seemed a bit shaken. He was not yet a collector of Sagazan’s works (he would become one later on!), and his stance was rather reserved, not really knowing the nature of the feelings that ran through him. He really had to take the time to digest it, he told me…

As for me, at times I could not escape a sort of amazement from this character, the artist who had suddenly become unknown to me, transforming himself before our eyes. I had a confused feeling, without knowing precisely that something primordial had been elevated from this experience.

And yet, this was not unknown territory. During the preparation of the exhibition, we visited his “workshop-capharnaüm” in Saint Nazaire and discovered a plethora of creations which evoked a strange universe to me. Sculptures, paintings of bodies, and creatures shaped from the earth—a form of reinvented bestiary—were all over the studio…

The first feeling that came to me when my gaze landed on these disemboweled, bruised, flayed bodies, inevitably referred to a mortiferous feeling. Although, something else came to the fore almost immediately: a more poetic reading. Yes, they were damaged bodies, but they were also faces devoid of pain or sadness. His creatures seemed to freeze for eternity. Sagazan’s world was not so disturbing, and the slightly macabre impression from before was largely overcome.

As his next exhibition, Etre Chair, will confirm, after uprooting there is rooting, or at least an attempt to do so. The artist proposes a dialogue between his sculptures and a series of landscapes undertaken during Covid, a time when he felt the need to connect with nature even more strongly. The majority of his landscapes exclude the bodies that he used to include. With the notable exception, however, of a painting representing an undergrowth in which we see, connected, by the roots, a buried body that emerges on the surface.”

– by Bruno Blosse, artistic director of Loo&Lou Gallery, Paris


Born in 1959 at Brazzaville in Congo, Olivier de Sagazan lives and works in Saint-Nazaire.

Trained as a biologist, he is interested in the living and, through his pieces, seeks to establish a sort of genealogy of the sensibility. He aims to better understand how, at some point, inert material structured by cells engenders life and sensitivity.

For about 25 years, Olivier de Sagazan’s work has principally revolved around the human body. In parallel with his creations – paintings, sculptures, installations – de Sagazan produces performances, popularly seen by the entire world, during which he utilizes his own body as a mold, with clay and paint as his mediums. Converting his face and body, he manoeuvers through choreographed gestures, alloting for radical metamorphoses.

The artist predominantly uses clay and plants that he gathers and kneads in order to create lifelike material. From these elements, a polymorphic world appears composed of different characters like a bestiary where humans intertwine with animals.









Written by Matthew Hong on . Posted in artists.



Johan Van Mullem was born in Congo in 1959 to Belgian parents. He grew up moving around the world as a result of his parents various diplomatic postings, including a seven year stay in Tunisia. The artist has always been an autodidact. He started drawing at the age of five and  never stopped, following in his father and grandfather’s footsteps. His family roots are in the city of Bruge, and from which he went on to study architecture in Brussels. Later on, Johan began exploring with etching and painting. Today he paints with etching ink, and is considered to be one of the only artists who uses this medium as a way to create paintings.
Since his youth, Van Mullem has persisted in his search for wrinkled faces, seeking the beauty that he recognized in the experience that is “engraved” on faces and in hands. Since then, the face remains the major subject of his work. The subjects appear  rejuvenated, disappearing or emerging in a halo of light in an old-fashioned sfumato, offering an escape into a world of emotion. His work is an invitation to look inward and go on a journey of omnipresent emotional charge of which one  cannot part ways indifferently, an effect of the bewildering depth of his paintings.
The superimposition and erasure of many smooth layers of diluted inks further accentuates the feeling of viewing a presence on the canvas that is difficult to describe. Van Mullem has mastered this specific and unique technique through self-learning, executing his pieces in etching ink as an extension of his experience as an engraver, giving his work an additional, exceptional character.
A multifaceted artist, designer, poet, musician, painter and sculptor, Van Mullem strives to create a diverse but absolutely coherent œuvre that builds bridges to link and awaken our senses. Though his pieces are contemporary, they can suggest references to historical masterpieces.
His paintings are in major private collections and Museum collections throughout Europe. He has held solo exhibitions in Art Galleries located in London, Paris, New York and Brussels. His work was exhibited in various European Museums.


Written by Matthew Hong on . Posted in artists.


Jean Claude Wouters (b. 1956) is a Belgian artist who has lived and worked in Brussels, Paris, Tokyo, Italy, Dubai and Los Angeles. He studied drawing from an early age, and moved on to ballet, filmmaking and various performing arts.

Wouters shows an intense sensitivity to the nature of both the body and spirit. He works with three analog cameras: a 135, a polaroid, and a medium format 67, and uses 6×7 negatives in order to avoid photographic grain on his images. He asks his subjects to face a window, employing only natural light to illuminate them. After developing and printing this original image, he rephotographs it and uses strong light from the sky that reflects into his lens’ aperture. He repeats this process several times in order to layer it with light, which gradually erase the appearance of the person. The final negative is printed in the darkroom on 80 x 100 cm matte Baryta paper, a unique copy which is then treated using selenium for preservation purposes, a method similar to one used to preserve photographs taken in the 19th century. This negative used is then dipped in sand and placed into a small wooden box which accompanies the portrait.

In his earlier career, after studying and dancing with Maurice Béjart and Lindsay Kemp in the early eighties, Wouters began working as a performing artist and as an independent filmmaker. His films were selected by the British Film Institute, the Tsukuba University Japan, the Director Fortnight section (Quinzaine des réalisateurs) at the Cannes Film Festival in 1981 (Brian Eno – Music for Films), and he has received several awards in international film festivals, in New York, San Francisco, Paris, Praha, Teheran and Montreal. He worked for years in Paris as a filmmaker and fashion photographer, his speciality being a simple and natural expression of the beauty of women

He has worked with Lancôme, Chanel, Yves Saint Laurent and several luxury brands.), and has also collaborated with fashion designer Marc Jacobs for ARTREAGEOUS at Bloomingdale’s (New York, 2007). In 2011, he performed CRINOLINE MAN at the LACMA museum (Los Angeles), and SHADOW WALKER at the MOCA museum (Tucson, AZ). In 2012, he was awarded the POLLOCK-KRASNER Foundation Grant in NYC.


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Ntshabele has quickly developed a personal technique through painting figures in acrylic on large format supports made of collaged newspapers.

Andrew Ntshabele depicts characters that he observes on the streets of Johannesburg as a reflection of the negative physical, socio-economic, and political changes of the post-apartheid city of Johannesburg. Selectively choosing newspaper backgrounds with pertinent headlines, he paints over them with the resulting pressure and strain on citizens who live and work in a polluted city. Photographing and meeting his subjects around the city prompted him to investigate these difficulties in order to understand the root causes of the degradation of the city center.

After the Covid-19 pandemic hit, Andrew Ntshabele would like viewers to confront his art from a new perspective and try to find happiness in these difficult times. Within some of his recent work, more joyful feelings are present. For this new series, he explores both medium and large supports using newspaper articles about Covid-19.

Born in 1986 in a small town in South Africa, he studied at the University of Art in Johannesburg and graduated in 2013 with a major in painting. Since then, he has been living and working in Johannesburg. 


“I believe and know that the old world as we know it is a thing of the past…we are entering a digital age and now more than ever it is important to preserve history and document it. I am fascinated and excited to do this through my art.”

– Andrew Ntshabele


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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.


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From her first paintings composed of coloured mortars incorporating collages of her own photographs to her recent tapestries, Aurélia Jaubert has been fascinated by the metamorphosis of images, their passage from one medium to another, and the illusions they engender. She has gradually left the traditional surface of painting for heterogeneous compositions; a kind of utopian mixture to reflect the historical crises of representation. She favours mixing and diversion: painting, textiles, photography, digital images, collage, sewing, sculpture, sound and music, and light. To ennoble the remains, to be interested in the slightest of nature (reflections, bubbles, shadows, traces…) and reinsert them into a cycle of metamorphoses that erase the metamorphoses that erase the value of use and reinstate an unexpected aesthetic value.
These are as much the gestures of a collector as those of an artist who always remains faithful to the image.

Dreaming about the fantastic destiny of small accidents or objects of everyday life, smudges stains, drips, coloured debris, decommissioned magnetic tapes, old swimming pool buoys, fabric samples… So many modern ruins from which Jaubert, herbalist of the asphalt, attempts to reinvent through elegant, surprising, bizarre and unprecedented imagery.

-Dominique Païni, critic and independent curator, Director of the Centre Pompidou (2000-2005), Director of the Cinémathèque française (1990-2000)

Selected group exhibitions:
2022 La Ronde, Museum of Antiquities and Museum of Education, Rouen
My journey through tapestries from 1520 to 2020, Galerie Jabert, Aubusson
2021 L’Assemblage, une pratique médiumnique, Le 19 – Centre régional d’art contemporain, Montbéliard
TAMAT Museum, Tournai, Belgium
Museum of Art and Industry, La Piscine, Roubaix

Selected solo exhibitions:
2021 Faire tapisserie, Musée La Manufacture, Roubaix
Glaneuse, Stéphane Mortier Gallery, Paris
2019 3ème âge (le retour d’ Ulysse), Atelier d’Alexandra Roussopoulos, Paris
2018 Lost in Hardiskland, Kamila Regent Gallery, Saignon
Flux & Remix, Togu art club, Marseille


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Fred Kleinberg was born in 1966 in Paris, France, where he currently lives and works. He graduated from the Ecole Nationale Supérieure des Beaux-Arts in Paris and has been exhibiting his work internationaly since 1983. His pieces are a part of numerous private collections and have been shown in galleries and public institutions. Kleinberg conceives his work as successive thematic projects ans intuitively creates new bodies of work that are inspired by his travels around the world.

Kleinberg is a globe-trotting artist who has been selected for a number of artist residencies, such as the Villa Medicis 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 has received several paintings awards: the Salon de Montrouge prize in 1998, the Coprim foundation prize in 2000, the Taylor foundation prize in 2008, the Charles Oulmont fondation prize in 2008 and the 1st contemporary art prize of Monaco in 2014.

His most notable exhibitions include : 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.


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Composition II, 2021, Ceramic diptych, L 95 x I 61 cm (each) © Louise Frydman



Louise Frydman is a French artist born in 1989 in Paris.

She graduated from ESAG-Penninghen School of Art in 2012 and studied photography at the International Center of Photography in New York. Her studio is located in Burgundy since 2015. Louise began by composing light and delicate works in white paper and then turned to ceramics in 2015 when she created her monumental piece “La Fée des Pétales” hanging in the courtyard of the Hôtel de Croisilles in Paris.

In her treatment of ceramics, she will preserve the white matte of the paper as well as the fineness of the material. Her sculptures, or installations, inspired by the forms of nature, play with light and movement. Her meeting with the ceramist Jean-François Reboul in 2015 allows her to deepen her learning and to assert herself in her artistic approach. She exhibits her work in 2017 and 2019 at the biennial Revelations at the Grand Palais in Paris. Louise now collaborates with luxury houses and works with renowned architects around the world. In June 2019, Louise Frydman was awarded the “1 immeuble, 1 œuvre” prize by the French Minister of Culture Franck Riester, for her collaboration with Vinci Immobilier. Her work was also selected for the ICAA International White China Competition, whose exhibition took place in Beijing in August 2019.

Since 2015 the Parisian gallery Amélie Maison d’Art represents her work. The Loo & Lou gallery has exhibited her work at JustLX in Lisbon in May 2019 and JustMad in Madrid in 2020. It is in this context that she won the Résidence Arvore prize which allowed her to make a residency leading to an exhibition in Porto. In 2021 we presented the second solo exhibition of Louise Frydman Céramique Contemporaine in our space on Avenue George V.


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“One day in 2002, during my career as an actress, the need to put my hands in matter imposed itself on me; the earth became vital to me at once. I launched into sculpture with a primal, animal instinct, guided by a deep and irreproachable impulse. My exploration is underground and organic, my work is physical, sensual, enjoyable. There is no conceptual plan, I let go of what is in my head and become one with living matter. I take a leap into the void.

My work has always been nourished by the feminine figure, with obsessive themes – birth, chaos, death, rebirth, impermanence, devotion, cannibalism – subjects that I explored through porcelain sculptures in 2019 during Art Paris at the Grand Palais with Loo & Lou Gallery. Today, going through these long periods of confinement in an anxiety-provoking climate, I feel the need to connect to the luminous, the spiritual, the elevated, the transcendental… to work on repetition, the multiple, the swarming, the infinite, the infinitely monumental in the infinitely tiny, like mantras that soothe and numb cerebral agitation, like broad breaths – to build from chaos, from fragments of aborted or abandoned sculptures, and give them a new breath of life… These long months of gestation birthed immense, immaculate, porcelain Madonnas, adorned with gold, Murano glass, crowned with roses, thorns, roots.”

– Catherine Wilkening


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Être en Nature, 2020, Greek white marble, 53 x 41 x 18,5 cm / Photo: Alberto Ricci © Benoît Luyckx



Benoît Luyckx is a French contemporary artist who was born in 1955. After graduating from the École Boulle in 1976, he continued his studies at the Beaux-arts de Paris, before fully devoting himself to sculpture. It was during this time that he began exploring different quarries, where he saw the famous Carrara marble in Italy, as well as in Belgium, for the first time.

Luyckx transposes his thoughts in mineral (stones and marble) which he sculpts according to their size. Inspired by great, universal themes such as infinity, modernity, nature, and the body, he goes beyond materiality, constantly shifting between the figurative and abstraction.

The artist holds great interest in the movement and dynamics of his sculptures where, despite their material, they appear to be lightweight. He expresses his views on nature through a juxtaposition of raw material that has been polished and ribbed. His trips to the United States in the 1980s have inspired him particularly in his interpretation of modernity. If one were to consider the periods of his career, one could interpret his work as modernist, architectural, spiral, vegetal, or organic.

He has collaborated with Hermès, Chanel’s head office in Neuilly-sur-Seine, the Evreux Courthouse, the French Embassy in Phnom Penh (Cambodia), Moët & Chandon, HSBC, Vinci, Eiffage, among others, and worked with architects Paul Chemetov, Adrien Fainsilber, Jean-Pierre Lott, Pierre-Yves Rochon, Philippe Starck, Juan Trindade and the Pinto agency.

Luyckx has exhibited in various galleries in Europe and several times in the United States. His work is presented in several important private collections and Foundations.


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Decoration of the Youth, charcoal, pastel, ink and oil on Belgian linen canvas, 200×250 cm, 2019, ©Andile Buka


Nelson Makamo is an artist based in Johannesburg. He was born in 1982 in a town called Modimolle, in South Africa’s Limpopo province. Gifted with an astounding artistic aptitude in drawing and painting, Makamo honed his craft at Artist Proof Studios in Johannesburg, where he studied printmaking for 3 years.

Makamo has exhibited his work in group and solo exhibitions in South Africa, Europe, England and the US. He has shown in group shows alongside other South African artists, including David Koloane, Colbert Mashile, Deborah Bell, and William Kentridge.

Nelsons work is strongly influenced by the candid innocence of children, particularly those in rural South Africa. He believes that they embody the peace and harmony that we all strive for in life. For him, the joy and simplicity in which children perceive life and human interactions still resides in each and everyone of us. Thus, he hopes to help the viewer relive these forgotten notions.

Makamo’s work is included in many collections such as those of fashion icon Giorgio Armani, musician Annie Lennox, Hanzehof Zutphense Kunst Collectis, DJ Black Coffee, Swizz Beatz, Oprah Winfrey, Ava Duvernay, to name a few.

His most recent achievement is one of his artwork gracing TIME magazine’s cover  for their Special Edition on optimism, which was guest edited by acclaimed film director Ava Duvernay.



FNB Joburg art fair, Stand Ll Editions, Johannesburg, South-Africa.
The Re-awakening, CIRCA Gallery, Le Cap, South-Africa.
1:54, exposition collective, Stand GAFRA Gallery, Londres, England.
1:54, Stand GAFRA Gallery, Londres, England.
No Commission, Dean Collection, Berlin, Germany.
We are the souls of Azania, GAFRA Gallery, Londres, England.
Salon Zurcher Africa Art Fair, exposition collective, Zurcher Gallery, New York, United-States.
DDESSIN17, foire de dessin contemporain, exposition collective, Atelier Richelieu, Paris, France.
Fuir, exposition collective, Fondation Blachère, Apt, France.
Résidence, Fondation Blachère, Apt, France.
Dipôlelo, Galerie Fatiha Selam, sous le commissariat Anna Reverdy, Paris, France.
Post It, exposition collective, Constitution Hill, Johannesburg, South-Africa.
Résidence, SAFFCA Fondation, Saint-Émilion, France.
1:54, exposition collective, Stand CIRCA Gallery, Londres, England.
Everard Read, Le Cap, South-Africa.
Everard Read, Johannesburg, South-Africa.
FNB Joburg art fair, exposition collective, Stand Everard Read Gallery, Johannesburg, South-Africa.
Winter, exposition collective, Everard Read Gallery, Le Cap, South-Africa.
Salon 91, Le Cap, South-Africa.
Figuring differences, exposition collective, Andrew Lamprecht commissaire d’exposition, salon 91, Le Cap, South-Africa.
Les 21 ans de Artist Proof Studio, exposition collective, Johannesburg Art Gallery, South-Africa.
Museum of Africa, Johannesburg, South-Africa.
Young Contemporaries, exposition collective, Galleria Nikki Diana Marquardt, Paris, France.
Sharing Realities II, African Studies Centre, Leiden, Netherland.
Walking with Me, UTS Gallery, Edinburg, Scotland.
A Place I Call Home, Gallery on the Square, Johannesburg, South-Africa.
City Link, exposition collective, Gallery 23, Amsterdam, Netherland.
Gallery on the Square, exposition collective, Sandton, Johannesburg, South-Africa.
Moving into Light, KZNSA Gallery, Durban, South-Africa.
Sharing Realities, Gallery Izarte, Zutphen, Netherland.
Cultural and Business Art Exhibition, exposition collective, Somma Lombardo, Italy.
Making Identity, exposition collective, The Thompson Gallery, Johannesburg, South-Africa.
Ten Years of Printmaking, exposition collective, David Krut Print Studios, Johannesburg, South-Africa.
Walk with me, Obert Contemporary Art Gallery, Johannesburg, South-Africa.


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Le silence – de la série Vanités, tirage Lambda sur papier chromogène, 120 x 80 cm, photographie 2017, tirage 2018 © JC Ballot


Jean-Christophe Ballot is an Architect (D.P.L.G.), who graduated from the École Nationale Supérieure des Arts Décoratifs as well as FEMIS and completed a residency in 1991 at the Villa Medicis. His work concerns itself with space, from urban and industrial landscapes to natural settings filled with spirituality, he settles himself in places of memories.

“My photographs question memory in relation to the history of these places and their transformations. I use the void as an exercise, as it is at the center of my photographs and additionally within my reflection. I am looking to suspend time and create contemplative photographs.”

He has captured an important series of photographs while enjoying exceptional landscapes in the mountains, the village of Saorge, Roya Valley and its religious heritage, Mercantour National Park, and the Valley of Wonders. His work oscillates between still life and installation. On one side he develops a kind of narrative (he is also a film director) when creating his delicate compositions, by inventing a story which could have happened that he has “discovered” by coincidence. On the other, it affirms the gesture of the artist, an intervention in the space and thus, in the image, while assuming the presence of photographic props or baroque theatricality.



L’impermanence, sculptures and pictures, with Catherine Wilkening, Loo&Lou Gallery, Paris, France.
L’esprit des lieux (exposition collective), Curator Susana Gallego-Cesta, Petit Palais, Paris, France.
La photographie française existe… je l’ai rencontrée, group exhibition, Curator Jean-Luc Monterosso, Maison Européenne de la photographie, Paris France.
Vanités, rituels funéraires en pays Toraja, Abbaye du Thoronet, Le Thoronet, France.
Paysages français, Curators Héloïse Cornésa et Raphaël Bertho,National Library, Paris, France.
Les dormeurs de Saint Denis, Forteresse Pierre et Paul, Saint Pétersbourg, Russia.
Les serres d’Auteuil,Library Marmottan, Boulogne-Billancourt, France.
Paysages Australiens, Royal Academy of Fine-Arts, Domaine de Chaumont-sur-Loire, France.
Œuvre sur l’œuvre, Musée Le Grand Curtius, Liège, Belgium.
Le Musée dans le musée, Musée d’art contemporain de Thessalonique, Thessalonique, Greece.
Le Louvre transfiguré, Musée national de Damas, Syria.
Paris-Chicago, Loyola University Museum of Art, Chicago, United-States.
Urban Landscapes de Berlin à Shanghaï, Maison européenne de la photographie, Paris, France.
Île Seguin, paysage avec figures absentes, space Landowski, Boulogne-Billancourt, France.
La Métamorphose du Louvre, Musée du Louvre, Paris, France.
Mont Athos, National Library, Paris, France.


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Clara Daquin works in Paris as an art critic and independent curator. She graduated from ECAL, the École Cantonale d’Art de Lausanne with a degree in Visual Arts and from the Sorbonne in Art History. There, she studied how duos and artist collectives following multidisciplinary processes work together. Additionally, she holds a Master’s in Curatorial Studies from the Sorbonne University. She has been conducting exhibitions since 2015 with the “Mathilde Expose” collective, including Vertige en terrain plat at the Eva Meyer gallery and the Brownstone Foundation in 2016, as well as No man is an island at the Jardin Exotique in the Pavillon Bosio in 2017. She has worked with the Palais de Tokyo, Lafayette Anticipations, Fondation d’entreprises Galerie Lafayette, Semiose Gallery, and the association, La Source. She regularly writes articles and currently works with “The Community,” a collective, gallery, and multidisciplinary platform located in 10th arrondissement of Paris.


Photography is Julia Pitaud’s primary medium, and she uses it as a form of material to create poetic constructions. The artist simultaneously thinks of the body through surrounding objects like clothes (“human’s second skin”) and through the theme of chairs as a kind of foundation, considered through the prism of movement. La Chaise (2015) is made out of recovered inner-tubes, and is decorated with pictures taken during the artist’s travels abroad. Two forms of motion can be read compositionally through the piece: an invisible one, as if strangers were riding bikes, and a personal one, in regards to the artists’ voyages. The piece displays a structure that cannot be static, as the object appears to be growing limp; the artwork is relaxed, and the visitor may be perturbed by this notion. Paris-Alençon (2016) references the gesture of taking off one’s coat when entering a home, and the title refers to the journey that the artist has made for months to meet her partner. Pictures taken in Paris are joined with ones from Alençon, while a tree trunk merges itself with a pant leg. In 2016, Pitaud became interested in the idea of collecting used clothes, thinking about how they came from people she never knew and never will know. She chose white clothes as a blank page where she could place her ideas and intentions.

© Coline Chalumeau – Loo & Lou Gallery


For duo Nidgâté (Yuyan Wang + Qin Han), the concept of the body is already present in their name. Nidgâté is a word coming from ancient Asia, meaning “rough skinned hands, without skill nor expertise.” It is not by chance, then, that their film The Devil In The Details (2017) offers an anthology of gestures. Guided by a soundtrack of finger snaps, the film displays movements that can be assumed as genderless: a hand holds a butterfly, another one catches a strand of hair… Out of these “tireless partners,” Henri Focillon said, “The hand is action: it takes, creates, and we could say that, sometimes, it has thoughts.” In That Day (2017), the body is removed from the picture. Supported by an audio clip from a personal growth and relaxation session, the video presents movement through many indoor spaces. The artists have appropriated extracts from horror movies, where the bodies are absent, but the story remains. The suspense is steady, and plays on both mental and narrative constructions.


In her paintings, Chloé Julien, a bit dazed, sticks “Caramel dans les cheveux” (2010), or “Caramel in her hair.” She also perceives life as perpetual renewal, like the character Sisyphe (2008), cursed by endlessly pushing his rock to the top of a mountain. Sometimes the artist finds a partner with whom she can share her joys, such as in Sur ton dos (2008). Julien’s watercolors draw a contorted, corporal space that spreads, overflows, and melts. The artist sees chaos as a permanent state of being. What kind of chaos is it, then? Which type of tension? Is it one that exists between body and soul? The soul in her drawings inserts itself and invades her drawings with strong emotion. She views her own body without organs and that rather, it is inhabited only by the soul. Here, the body is represented by what fully composes it, with matter that is at once invisible and carnal.

© Émilie Mathé Nicolas – Loo & Lou Gallery

Florian MERMIN

Through two anthropomorphic sculptures, Florian Mermin invites us into a dreamlike world where we can find disturbing Freudian eccentricities. Bouche d’égouts (2013) appears to be made out of large, sugary meringue, but with a closer look, we can see that is is made out of plaster and contains teeth. Mermin associates an interest in the body with the integration of dreams that exist in a concrete reality. These mute mouths appear real enough to be able to eat or swallow, and the pink of their stand resembles the color of gums. The piece Peaux (2015) is made up of two bronze gloves placed on top of a wooden desk. We can only imagine the story behind the piece in this room, where time ceases to exist. Was it a monster who laid down his hands before entering? Or do these gloves help to hide rough and ugly hands?

© Émilie Mathé Nicolas – Loo & Lou Gallery


Inès Panizzi made this series of drawings while she was at Col d’Allos, which is located in the Southern Alps. Surrounded by mountains, the artist pursued a ritual where she woke up, made tea, and left her chalet to wander. Inspired by her morning hike, where she breathed in hundreds of micro-organisms, and saw insects and animals, she would go home afterwards and begin drawing. During these hikes, she created links between the stars, living beings, and the insects that surrounded her, and then drew these elements in a style rendering them almost identifiable. These drawings, like small studies of the universe, display the interactions between close and far, tiny and vast, macro and microscopic.

© Émilie Mathé Nicolas – Loo & Lou Gallery


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Vue de l’exposition “La folle qui rit” à la Loo & Lou Gallery — George V © Loo & Lou Gallery

Didier Genty

Born in 1956, Didier Genty lives and works near Paris. He studied art at the School of Fine Arts in Bordeaux.

“I like muscles, blood circulation, the underside of the skin… Our identity is our DNA, invisible, inside. For faces, I prefer their imprint; I avoid the complacency inherent in the practice of self-portraits. My painting like the 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 colour, the waxy, brutal and uncompromising features. A great fatigue, a bad taste in the mouth, the body is undoubtedly diminished, but the painting remains very much alive. It is a question of survival.”

– Didier Genty


Comme Un, exhibition, Aera (book publication), Paris, France.
Artcité, group exhibition Aulnay-sous-Bois, France.
Artalents, group exhibition, Guyancourt, France.
Art’fice, group exhibition, Montgeron, France.
4 éléments, group exhibition, Sèvres Espace Loisir, Sèvres, France.
Figuration Critique Fair, Paris, France.
Minimenta, Paris, France.
Corps & Graphie, group exhibition.
Price of the Artension review, Sèvres Espace Loisir, Sèvres, France.
À corps perdus la femme à Barbe, Point Rouge Gallery Paris, France.
Ile été tant, collective exhibition, Carte blanche à Françoise Monnin, Samantha Sellem Gallery, Paris, France.
Carmen épouvantée, Viry-Châtillon, France.
Le modèle, Biennale of Issy-les-Moulineaux, France.
Group exhibition, Nikki Maquard Gallery, Paris, France.
Images numériques « DUO », with Sophie Sainrapt, Gallery Anne Lettrée, Paris, France.
COPART, exhibition, Barle-Duc, France.
Hymanu scorp, space Atelier, Paris, France.
Biennal d’Issy-les-Moulineaux, Issay-les-Moulineaux, France.
Exhibition, space Icare, Issy-lesMoulineaux, France.
Exhibition, space Esselières, Villejuif, France.


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Tony Soulié was born in Paris in 1955, and is of Albigensian origin. As a multifaceted artist who creates paintings, performances, and photographs, Soulié could be regarded as one of the most important artists of his generation. Since 1977, he has exhibited his pieces in Paris and elsewhere in France, in Europe, and throughout the world, notably in Japan, the United States, Korea, and South America. He has been on a long journey, where questions are unearthed constantly about representation, spirituality of the image, and space versus time.

He has participated in over 300 solo exhibitions and his work is regularly shown at international events. His works have been a part of a multitude of private and public collections, including many French and international museums.

The artist has not forgotten the explorer, “Lapérouse,” from his childhood, nor the others who had gone out to hunt the unknown. They had come back with “Flowers and Florilèges,” a collection of unidentified plants and flowers. They did not stay nameless for long, however, as they began being colonized, circumscribed, and hindered. He creates art in a search for those flowers that have yet to be identified.

Awards and Recognition :

Winner in 1987 of the Villa Medicis “outdoors”, in Naples which brought him closer to Vesuvius, leading him to work on volcanoes Island, Hawaii, United States …
Salon de Montrouge prize in 1995.
Chevalier des Arts et des Lettres in 2004.

His works can be found in many public and private collections, foundations and museums around the world, including:
Peter Stuyvesant Foundation, Museum of the City of Paris, Belfort Museum, FRAC Ile de France, Arbus Foundation, Bob Wilson Foundation in Long Island-USA, Intermonde Center and Arto- thèque in La Rochelle, Museum of Industry in Charleroi, Belgium, The State Foundation on Culture and Art of Honolulu, National Fund of Contemporary Art in La Villette, City of Science and Industry, Spiegel Foundation in Beverly Hills USA, Colas Foundation, Axa Foundation of La Defense, Thomson-Franc Foundation, Rothschild Foundation in Paris, BNP Paribas, City of Paris, Duracel Art Industry in Miami, Toulon Museum, Shell-Japan in Tokyo, Palace of the Beaux- Arts of Brussels, French Institute of Thessaloniki-Greece, Clayarch Gimhae Museum in South Korea, Utsonomiya Arts Museum in Japan, Nantes Fine Arts Museum, National Museum of Lux- embourg, Arte Television in Strasbourg, Auvers sur Oise Museum, Japan Air Line Cie, Carré d’Art Foundation in Swiss, Marriot Hotel in Seoul, Chateauroux Museum, Forney Library in Paris …


Exposition du 14.09.18 au 27.10.18
VIDEO : Flowers


Written by Matthew Hong on . Posted in artists.

Sans Titre, medium photographique et peinture acrylique sur toile, 114x162cm, 2017 ©PierreDelavie


Deemed as “urban lies,” Pierre Delavie’s work questions reality and challenges our visual perception. Softening a Haussmannian building on Avenue George V in Paris, re-establishing the Chateau de Versailles’ strict architectural alignment, distorting La Canebière (the historic high street in the old quarter of Marseille, France) for the event “Marseille, European Capital of Culture,”  are his way to change reality in order to better reveal it, all while soaking up the history of the chosen environment.

On January 11, 2017, he placed, without permission, a piece entitled “Radeau de Lampeduse” that sunk in the Seine. The monumental canvas unwound itself for hours in front of Hotel de Ville as a way to protest mistreatment towards refugees, while supporting the BAAM (a center for welcoming and aiding migrants), who sent their wishes to elected officials.

As such, his presence at the Loo & Lou Gallery felt natural. He said, “I found a new momentum from outdoor to indoor in relation to my research around contextual art, attempting something that is all-encompassing and holistic. The displacement of “Nuit Debout” and the movement against the work law is part of the Parisian reality. What’s been vibrating around the Place de la République since 1789, without being seen, is what we saw.”

And if the traces have disappeared, they will reappear as brushstrokes capable of definitively freezing the incessant film of daily life. Which only painting is capable, but can we trap the uncertainty?


Written by Matthew Hong on . Posted in artists.

François Borie

François Borie is a French artist who specializes in painting and drawing. He was born in 1964 in Paris and grew up in France after a short stay in the United States. He has been submerged in a multicultural universe since he was young, which has pushed him to develop a certain curiosity for discovery. Around the age of twelve, he created his first drawings which are highly influenced by Paul Klee and Victor Brauner. In recent years, François Borie has changed his focus towards a more graphic exploration, creating automatic drawings that are inspired by the Surrealists.

Borie draws the repetitive forms of characters who link with and embrace each other. They are the same characters yet they are always different. It can be perceived that in his universe there is an obstinate desire to create variations around a similar theme, bringing about a feeling that is reinforced by the multiplicity of his figures and his artworks. The artist creates a proximity between a ballet of moving shadows and the spectator. Between opacity and lightness, severity and weightlessness, the viewer might find themselves engaged in a complex game of tension wherein that which is full or void appears to coexist within the framework of the piece and the exhibition space.


Written by Matthew Hong on . Posted in artists.


Loo&Lou Gallery presents a selection of unpublished artwork from Camille Grandval.

Camille Grandval is a self-taught artist with a curious nature, who uses many different mediums and has had a variety of professional and artistic experiences. From the micro-sidewalks she made in the 1990s for Radio Nova during what she calls her “Impressionist period,” to Narcisse, a video installation shown at the Église Notre-Dame du Travail during Paris’s Nuit Blanche, Grandal throws her body and soul into each adventure, eager to learn and discover new techniques.

She is a seasoned traveler and sailor, and worked with the theme of water for a long time, making drawings with crashing waves formed by multitudes of undulating lines. A fervent admirer of the Venezuelan artist Gertrud Goldschmidt, or “Gego,” Grandval shares an obsession with lines, whether imaginary, drawn on paper or with threads. Grandval uses these lines to weave a metaphor of her own entropy through reflections on distortion, she is creating a new relationship with space, time, and matter.


Written by Matthew Hong on . Posted in artists.

« PENA », tirage numérique, 2015


Olga Ityguilova presented her work for the very first time with Loo & Lou in 2016. This exposition showed a selection  of 15 photographs from the first part her series “Hidden World”, dedicated to water. These images collected throughout her journeys and strolls represent transfigured landscapes that give a glimpse to a supernatural world. 

Ityguilova is a Russian artist who grew up in Siberia near Lake Baikal, the cradle of shamanism, surrounded by a wilderness harboring a hidden world. “I come from a country where the parallel world of spirits is very familiar” she says. “We live with them – they are a part of everyday life!” During her childhood in the great outdoors, Ityguilova explored nature in all its facets, especially in summer, when she would fly over the tundra and taiga in a helicopter with her parents. When she was 12, she began to take black-and-white photos (color prints were too expensive in the Soviet era). From her teacher, she learned to develop her own vision.

At 22, Ityguilova left her homeland and moved to Paris, where she worked in the fashion world while  continuing her photographic research to show life’s instance through this dreamlike approach. Her present work sheds a light on the existing connection between the material and spiritual world. This reunification phenomenon brings us a profound connection with the world of the living. 


Written by Matthew Hong on . Posted in artists.


Kayip (WooJun Lee) was born in Seoul, where he currently lives and works. After studying urban architecture, he began gravitating towards music. From 2003 to 2007, he studied music at the Birmingham Conservatory and the Royal College of Music, and released two albums, Kayip in 2005 and Slow Moves in 2007. The singularity of his experimental electro-universe involves slow, hypnotic rhythms and introspective melodies that explore the labyrinths of semi-consciousness through tremendous landscapes.

Kayip’s music was quickly met with success. In 2007, he was awarded a prize from the University of Music in Aberdeen which allowed him to create a piece for the Irish Symphonic Orchestra that was broadcasted by the BBC.

It did not take long for his career to take off. In 2009, Brian Eno chose him to recreate a new live version of his album Apollo (1983) at the Scientific Museum of London, which fell on the 40th anniversary of the Apollo 11 mission. Kayip’s concert during the 2010 Brighton Festival was remembered as the best performance. He is one of the most renowned figures of the Korean electronic music scene today.

Since 2012, Kayip has focused on the connection between sound and image through installations. He has presented several of his pieces in Seoul, including collective exhibitions at the Kumho Museum, at the Ansan Dawson Art Museum, at the Seoul Culture Station 284, and during the Royal Court Festival at the Changgyeonggung Palace. WooJun Lee found his artist name in a Turkish news article during the Izmit in 1999 under the title Kayip, meaning “Lost,” that spoke of the odyssey of a father who is looking for his daughter.


Written by Matthew Hong on . Posted in artists.

© Tanc, Ahn Sun Mi, Multifaceted, May, 14th  – June, 14th 2015, Catherine Ahnell Gallery, New York

Ahn Sun Mi

At the age of 21, Ahn Sun Mi left her native country as well as her photography classes at the Kyung Sung University to study in the School of Fine Arts in Paris. Photography escorted her from one country to the next. More than just a medium, it became a way to integrate herself, floating between two cultures and two time zones. The young artist stands in front of her camera. Associated with digital collage, her self-portraits refer to the poetry of coexistence and an infinite creativity.


Written by Matthew Hong on . Posted in artists.

©Matthias Contzen

Matthias Contzen

Matthias Contzen was born in 1964 in Aschaffenbourg, Germany. He began creating sculptures at the beginning of the 1980s at the European Academy of Fine Arts in Trier, and continued at the Sculpture Academy in Munich where he received his diploma in 1991. In 1995, he graduated with a degree in design from the Arts and Crafts Guild at the School of Fine Arts in Sarrebruck and received the 3rd prize in the international competition for design, Cultures and Materials. He continued to Mayen, close to Coblence, where he completed his Master in sculpture. He was also a musician, playing in different bands and taking numerous trips around Europe and Africa. Though he did not end up pursuing music, it remains an important element in his work.

Since 1998, Contzen has been living close to Lisbon in Portugal. Traveling and meeting people are essential to him and his practice. For the last 15 years, he participated in a dozen international seminars dedicated to sculpture in Portugal, Germany, Canada, India and the United Emirate States. In 2002, he won the most prestigious prize for sculpture in Portugal, The City Desk, and was nominated in 2003 at the International Biennial of Sculpture in Toyamura, Japan. In 2009, he co-founded the Sculpture Factory, an open space for exchanges, where he currently works with ten artists.

His encounter with the actress Philippine Leroy-Beaulieu brought new perspective towards his work. They both share a desire to experiment with sound, leading to his visual and sound installation Planet, which was presented during Nuit Blanche in 2014 in Paris. He later created the installation For You as a testimony to their common journey in a reflection on the nature of reality, and of their deep understanding of one another. These were two important moments in the course of Contzen’s career, where what was imagined by Philippine Leroy-Beaulieu revealed a bigger understanding of his work as it succeeds in amplifying the eminently sensory experience it offers.

Most of his public works are located in Portugal, notably in Cascais, Cantanhede, Viseu, Mafra, and Madère. They are also found in Mayen, Germany; La Coruña, Spain; Toronto, Canada; and Dubai, United Arab Emirates in the Burj Khalifa gardens. His sculptures are a part of the Uttarayan Art Foundation in Baroda