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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tana Borissova 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.

Pierre-Luc Poujol was born in 1963 in Alès, in the Cévennes region of France.

In 1984, he began brilliant studies at the Bordeaux School of Applied Arts, graduating top of his class (first prize in drawing, first prize in perspective, first prize in sketching).

After dividing his time between France and the United States for several years, in 2018 he finally set up his studio in the South of France, near Montpellier.

Influenced by the peasant roots of his farmer grandfather and lulled by the spiritual environment of his pastor father, Pierre-Luc Poujol developed an early sensitivity to the world and nature around him.

Rewarded for his work and artistic commitment, he has won numerous prestigious awards. In particular, he won the international prize awarded by UNESCO for the bimillennium of the Nativity.

From March 23 to May 26, 2024, he presents “Arborescences”, his new monographic exhibition at the Musée Paul Valéry, featuring over 70 paintings and wood sculptures on the theme of trees and forests.

A committed artist, in spring 2022 Pierre-Luc Poujol will become the first ambassador of the French NGO Coeur de Forêt, for which he will lend his voice and his paintbrushes in support of the preservation of our biodiversity.

Pierre-Luc Poujol was born in 1963 in Alès, in the Cévennes region of France.

In 1984, he began brilliant studies at the Bordeaux School of Applied Arts, graduating top of his class (first prize in drawing, first prize in perspective, first prize in sketching).

After dividing his time between France and the United States for several years, in 2018 he finally set up his studio in the South of France, near Montpellier.

Influenced by the peasant roots of his farmer grandfather and lulled by the spiritual environment of his pastor father, Pierre-Luc Poujol developed an early sensitivity to the world and nature around him.

Rewarded for his work and artistic commitment, he has won numerous prestigious awards. In particular, he won the international prize awarded by UNESCO for the bimillennium of the Nativity.

From March 23 to May 26, 2024, he presents “Arborescences”, his new monographic exhibition at the Musée Paul Valéry, featuring over 70 paintings and wood sculptures on the theme of trees and forests.

A committed artist, in spring 2022 Pierre-Luc Poujol will become the first ambassador of the French NGO Coeur de Forêt, for which he will lend his voice and his paintbrushes in support of the preservation of our biodiversity.

Pierre-Luc Poujol was born in 1963 in Alès, in the Cévennes region of France.

In 1984, he began brilliant studies at the Bordeaux School of Applied Arts, graduating top of his class (first prize in drawing, first prize in perspective, first prize in sketching).

After dividing his time between France and the United States for several years, in 2018 he finally set up his studio in the South of France, near Montpellier.

Influenced by the peasant roots of his farmer grandfather and lulled by the spiritual environment of his pastor father, Pierre-Luc Poujol developed an early sensitivity to the world and nature around him.

Rewarded for his work and artistic commitment, he has won numerous prestigious awards. In particular, he won the international prize awarded by UNESCO for the bimillennium of the Nativity.

From March 23 to May 26, 2024, he presents “Arborescences”, his new monographic exhibition at the Musée Paul Valéry, featuring over 70 paintings and wood sculptures on the theme of trees and forests.

A committed artist, in spring 2022 Pierre-Luc Poujol will become the first ambassador of the French NGO Coeur de Forêt, for which he will lend his voice and his paintbrushes in support of the preservation of our biodiversity.

From painting to drawing, and through sculpture, the visual artist SylC places humanity at the center of her work. Strongly infused with dreamlike elements, her oeuvre reveals our true identity, our paradoxes, our dualities… By frequently associating the human with the animal or the plant, the artist sheds light on the woven connections between beings and those we maintain with nature; she highlights hybridization and metamorphosis, symbols of the complexity of our personalities, but also of adaptation, renewal, and the perpetual evolution of our identity.

From painting to drawing, and through sculpture, the visual artist SylC places humanity at the center of her work. Strongly infused with dreamlike elements, her oeuvre reveals our true identity, our paradoxes, our dualities… By frequently associating the human with the animal or the plant, the artist sheds light on the woven connections between beings and those we maintain with nature; she highlights hybridization and metamorphosis, symbols of the complexity of our personalities, but also of adaptation, renewal, and the perpetual evolution of our identity.

From painting to drawing, and through sculpture, the visual artist SylC places humanity at the center of her work. Strongly infused with dreamlike elements, her oeuvre reveals our true identity, our paradoxes, our dualities… By frequently associating the human with the animal or the plant, the artist sheds light on the woven connections between beings and those we maintain with nature; she highlights hybridization and metamorphosis, symbols of the complexity of our personalities, but also of adaptation, renewal, and the perpetual evolution of our identity.

With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole. 

With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole. 

With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole. 

With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole. 

With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

— Philippe Garnier, Les Cahiers Dessinés #9

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

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

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

— Philippe Garnier, Les Cahiers Dessinés #9

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

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

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

— Philippe Garnier, Les Cahiers Dessinés #9

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

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

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

— Philippe Garnier, Les Cahiers Dessinés #9

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

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

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

— Philippe Garnier, Les Cahiers Dessinés #9

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

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

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

— Philippe Garnier, Les Cahiers Dessinés #9

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

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

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

— Philippe Garnier, Les Cahiers Dessinés #9

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

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

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

— Philippe Garnier, Les Cahiers Dessinés #9

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

“Joël Person 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.

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

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

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