Anele Pama is a visual artist whose work is deeply influenced by his upbringing and personal experiences. Growing up in a township in Gugulethu Kanana, South Africa, Pama’s art draws inspiration from the resilience and solidarity of his community. Using both oil and acrylic paints, the artist tells stories of survival, unity, and hope that define the lives of so many black South Africans living in townships. He lives and works in Cape Town.

Pama’s work reflects the daily realities of life in a ghetto, where people often have to face difficult conditions while continuing to help each other. Through her work, the artist seeks to highlight these positive aspects of life in the townships by focusing on the strength, perseverance, and love that persist despite the challenges, rather than reinforcing the negative stereotypes of violence and drug abuse that are commonly associated with them. Anele Pama’s work celebrates the community spirit and sacrifices of these individuals, each of whom works tirelessly to provide a better future for their children. One of the main themes of her work is the celebration of isolated grandparents, particularly grandmothers who sell meat on the street every day in order to send their children to school and thus provide them with the opportunities for a better life. Through her vivid and moving portraits, Pama honors their dedication and strength, giving a face to their stories, which are essential chapters in a broader narrative about the survival and empowerment of this community.

Anele Pama’s art serves as a powerful testament to the resilience and beauty that exists at the heart of townships, highlighting untold stories of love, survival, and hope—stories that often go unnoticed.

Abongile Sidzumo (born in 1996) lives and works in Cape Town, where he was born. In 2019, he graduated with a degree in Fine Arts from the Michaelis School of Fine Arts. Sidzumo then received the Blessing Ngobeni Art Prize, which earned him his first solo exhibition, entitled “Dancing in the Dust,” at the Everard Read Gallery in Johannesburg a year later. That same year, he was a finalist for the Cassier Welz Awards, an event hosted at the Bag Factory Artists’ Studios in collaboration with Strauss & Co.

In 2021, Sidzumo received the Gerald Sekoto Award in the Absa L’Atelier Awards. This award enabled him to undertake a three-month residency at the Cité Internationale des Arts in Paris. In 2023, he held a second solo exhibition at the Absa Gallery in Johannesburg, which also traveled to Gqeberha, Bloemfontein, and Pretoria. That same year, he entered a residency at KNKK in South Africa.

Sidzumo works with leather scraps and reused materials to create pieces that reflect and question our humanity, the way we coexist, and our relationship with nature. His sources of inspiration are memories that he revisits by linking them to places where he has lived, but also the daily lives of marginalized communities.

Leather is often associated with luxury, wealth, and power. By sewing and weaving it, Sidzumo questions our ability to redefine this material. For him, sewing refers to the notion of healing, that of the traumas inflicted on Black communities during apartheid. Today, in post-apartheid South Africa, his practice continues to question the lasting healing of these communities.

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, Pierre-Luc Poujol will become the first ambassador of the French NGO Coeur de Forêt in spring 2022, for which he will lend his voice and his paintbrushes to help preserve our biodiversity.

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.

“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.

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.

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

“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.

For over fifteen years, Catherine Wilkening has concentrated on universal themes that surround the female figure – birth, life, death, and rebirth. Now, her work collides with the figure of the Madonna, one of the most canonical forms in Western art. Wilkening avoids both the image of the divine and the melancholic beauty that encompasses the ideal Christian Virgin, including a contemporary and provocative kitsch approach. Instead, she proposes a series of sculptures that evoke restlessness and agitation, in the image of some other beauty. An intense wind blows on the Madonnas by Wilkening that fold the porcelain garments with a baroque gesture that appears to continue infinitely. Sometimes the sculptor creates her Madonnas ex nihilo from an erection of porcelain that she miraculously assembles

At other times, the artist appropriates vintage sculptures dedicated to the celebration of the Virgin Mary that she diverts from their ecumenical representation to reintegrate them into her mystical and baroque universe. Wilkening is looking for «the monumental in the minuscule.» She conquers the grandeur of her works by exploring all the possibilities of the miniature, enveloping the infinitely large in the infinitely small. Moreover, Wilkening’s sculptures cannot be deciphered through a quick glance. It is necessary to look at them for a long time to reach the meaning of their forms. The exquisite obsessions of the artist are hidden from our eyes in a maze of extreme finesse of the porcelain. Under the apparent softness and consistency of white enamel, the chastity of the Madonnas quickly crumble and reveal scarifications cracking the skin of the ceramic, the abundance of floral patterns, animal bones and accumulations of small rear-ends, expression of a generosity of life that takes on all the reigns of creation. The artist’s use of new materials such as gold leaf, Murano glass or acacia wood helps to thwart summary recognitions. The eye hesitates between the aerial, vegetal, and animalistic elements.

Through the infinite exploration of minute detail, Wilkening evokes certain spiritualist artists that obsessively operate as miniaturists on immense formats, folding and unfolding their composition as they advance, practicing a form of automatism. The sculptures are sometimes worked for hundreds of hours, showing a certain asceticism from the artist. Hence the mantric and hallucinatory dimension of some of these pieces born in the isolation of confinement. The sculptor made this constraint her own as the expression of a happy and protective solitary retreat where she was able to concentrate and intensify her practice. — Philippe Godin, art critic

In her last solo exhibition Faces at Loo & Lou Gallery in 2015, Deguest explored a powerful and bloodless expressionist figurative style through ten portraits that she painted in acrylic and oil. Far from any physical resemblance, she focuses on a carnal and provocative representation that challenges the gaze, intimidates, and seduces. Since then, without ever moving away from her painting, the artist has devoted herself fully to other personal projects. Today she offers us a series of large format portraits entitled “Women in prayer”. A theme that imposed itself upon the artist after much working introspectively, like many other artists, during the period of Covid pandemic. She felt the need during this time to reconnect with a form of spirituality. These latest works will come into dialogue with Catherine Wilkening’s spectacular porcelain Madonnas.

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, 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 as her artistic gestures are born from her journeys. In 2016, she participated in the Biennale de Marrakech, during which she exhibited for the first time her waterproof paper on coated brass installations 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 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.

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.

Born into a family of artists in Normandy, Hélène Damville has been practicing drawings inspired by nature since her youth. This passion for the observation of life (both fauna and flora) led her to explore the Natural History Museum of Paris where she discovered Buffon and the naturalists. Copying works by her teachers, she familiarized herself with the complexity of skeletons and their articulations, as well as the networks and ramifications of the plant world. These dry elements represent life’s architecture as well as the traces left by passed lives. Parallel to her assiduous visits to museums, she completed her studies by following artistic anatomy classes and graduating with a Masters in Oriental Philosophy from the Sorbonne. In this environment of scientific, philosophic, and artistic analysis, she built up her portfolio of etchings. The desire to be close to living matter pushed her to choose engraving as the main media in her research; Engraving, but more specifically directly carving on metal and wood. Through lines and vigorous strokes, the artist is able to translate the essence of life in her work. She was trained with a copper chisel by André Bongibault at the studio L’Estampe de Chaville, then later perfects ornamental engraving on metal at l’École Boulle. In her pieces, humans are rarely directly represented.

From engraving to tattooing
We find a natural extension in Damville’s pieces from working lines in the wood to the ancient art of tattooing. She is currently an apprentice in the Parisian tattoo salon belonging to Alessio Pariggiano. Since she loves working with organic material, Damville found the artistic niche she has been looking for.

From 2014 to 2015, she was an artist member of the French Academy in Madrid, Casa de Velazquez. In 2017, she won the Jean Asselbergs Prize, Taylor Foundation.

Paul de Pignol was born in Toulouse in 1965. He currently lives and works in Paris. 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.

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.

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. His work is included in numerous private collections (Yvon Lambert collection).

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)

Cedric Le Corf is represented by Loo and Lou Gallery, Paris

Born into a family of artists in Normandy, Hélène Damville has been practicing drawings inspired by nature since her youth.This passion for the observation of life (both fauna and flora) led her to explore the Natural History Museum of Paris where
she discovered Buffon and the naturalists. Copying works by her teachers, she familiarized herself with the complexity of skeletons and their articulations, as well as the networks and ramifications of the plant world. These dry elements represent life’s architecture as well as the traces left by passed lives. Parallel to her assiduous visits to museums, she completed her studies by following artistic anatomy classes and graduating with a Masters in Oriental Philosophy from the Sorbonne. In this environment of scientific, philosophic, and artistic analysis, she built up her portfolio of etchings.

The desire to be close to living matter pushed her to choose engraving as the main media in her research; Engraving, but more specifically directly carving on metal and wood. Through lines and vigorous strokes, the artist is able to translate the essence of life in her work. She was trained with a copper chisel by André Bongibault at the studio L’Estampe de Chaville, then later perfects ornamental engraving on metal at l’École Boulle. In her pieces, humans are rarely directly represented.

From engraving to tattooing
We find a natural extension in Damville’s pieces from working lines in the wood to the ancient art of tattooing. She is currently an apprentice in the Parisian tattoo salon belonging to Alessio Pariggiano. Since she loves working with organic material, Damville found the artistic niche she has been looking for.

– Pascal Hemery

From 2014 to 2015, she was an artist member of the French Academy in Madrid, Casa de Velazquez.

In 2017, she won the Jean Asselbergs Prize, Taylor Foundation.

Pierre-Edouard was born in 1959.

His first series of drawings was created in the early 1980s and was shown by Claude Bernard in Paris. It is the series of “men on the ground”. A vision which apprehends all forms from the angle of an uninterrupted modelling, using the almost musical shadow. Then came the paintings shown by Claude Bernard in 1989, a development of the theme of “men on the ground” and “characters to scale”. Here we see a kind of deconstruction of the figure – the image is now incomplete. At the beginning of the 1990s, he tackled the theme of women in weightlessness in a series of sculptures that were shown in 1994. This theme of the body in horizontality and weightlessness will literally devour his work.

In 2004, he was awarded the 1st Prize of the Prince Pierre de Monaco Foundation and an exhibition followed the following year in the Principality. In 2010, he was elected member of the Académie des Beaux-Arts of the Institut de France.

He collaborates with the Gallery ” Ditesheim & Mafféï fine Arts ” (Switzerland) (www.galerieditesheim.ch/galerie/) which will hold an exhibition in 2011 and shows him regularly in fairs and exhibitions.

In 2009 he returned to painting. The works are parallel to the sculptures, but the formats are getting bigger. Pierre-Edouard ventures into a new space. Despite the non-figurative essence of these works, he continues to explore the theme of a body in suspense. A human body that resembles a gigantic sperm whale.
Pierre-Edouard’s work as a whole is an articulation of the planes of space in a modulation without beginning or end. It is a work in suspense that questions the monumentality of form.

In 2013, he published the book “Baleines et Déesses” (Whales and Goddesses) with Editions William Blake and Co. A monograph of his engraved work, for which he wrote the text.

His works are in private collections in France, Switzerland, Belgium and the United States.

The Louis-Dreyfus Family Collection (www.ld-collection.org/ ) has a large number of drawings, paintings and sculptures.

Paul de Pignol was born in Toulouse in 1965. He currently lives and works in Paris, France.

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

In in addition to the studio in Montigny-sur-Loing he used for his sculptures, Paul de Pignol decided to dedicate a specific workshop to drawing in Paris in 2010; he established a link between these disciplines a short time afterwards. Paul de Pignol’s drawings and sculputres are a plunge into an intimate essence of 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 inside and outside.

Paul 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 unveiled bodies a spectral presence.

Since 2017, after years of wandering, Paul de Pignol found pictoral language relative to his research.

One of his most recent exhibitions, “Né du limon,” is the result of this quest. With a fascination for landscapes, Paul de Pignol is inspired by the Fontainebleau forest that surrounds his studio. The idea that any life can birth from decay fascinate him, and he creates organic and living landscapes, where you can feel the turf and soil. We are close to the Golem.

Amélie Ducommun is a franco-swiss artist born in 1983. She graduated from the Ecole Nationale Supérieure des Arts Décoratifs (ENSAD), from the Schools of Fine-Arts of Barcelona and Lyon. For two years, she has been a resident artist at the Casa de Velazquez (2009-2011). She is living and working in Barcelona.
Amélie Ducommun has participated in many collective and individual exhibitions in France and abroad. Moreover, she participated in several contemporary art fares. Her work appears in many private and public collections, such as: the Fundació Joan Miró, the Casa de Velazquez…
More than everything, the artist is interested in nature and scrutinizes the relation she has with it. Her working process takes its roots in questioning memories of landscapes and the perception we have of the natural elements its composed by. Amélie Ducommun tries to capture the light and the first impression of the landscape in her work.
For the last decade, she got inspired by the landscapes of the French Atlantic coast focusing on waters and the aquatic world. Waters’ memories are translated through withdraws of traces on the canvas.

Recently, she put together “Walking in Memories”, a complete experience: works are suspended to the walls, sometimes in the style of “Kakemono”, but also presented on the ground. It is an invitation for the spectator to enter Amélie Ducommun’s universe.

Her cultural crossbreeding, a key element of her work, has been forged by many trips and stays abroad, in Africa, Europe and the United States. Her installations show this existential nomadism: her artistic gestures are the result of her path.
She took part in the 2016 Biennial of Marrakesh, where she exhibited at the Musée de la Palmeraie, for the first time one of her installations of water-repellant paper on curled brass.
Her creations are often backlit and sometimes supplemented with sound.
The material used, japanese white paper, suggests the ephemeral and the fragile, but also a form of evanescence underlined by their apparent levitation.
Flo Arnold’s sculptures thus float in spaces inviting us to contemplation, spirituality, and to an inner journey.
As a world’s citizen, she metaphorically feeds her sculptures of her encounters.

Flo Arnold was born in France and grew up in Casablanca, Morocoo. She had many solo shows in France and abroad, particularly at the Marrakesh Biennial in 2014 and 2016 ; and at the Loo & Lou Gallery, in Paris, in 2018. She also participated in several group shows, at the Fondation Pierre Berger and the Institut du Monde Arabe in Paris in 2013; at the Musée de la Palmeraie in Marrakesh in 2014 ; and at the Institut Bernard Magrez, in Bordeaux, in 2017, among others.

Louise Frydman is a French artist born in 1989 in Paris. She set her art studio in Burgundy.
She graduated from the prestigious art school ESAG-Penninghen in 2012 and studied photography at ICP – International Center of Photography of New-York. For two years, she assisted the paper artist Sabrina Transiskus, on many projects including an exhibition with Sèvres – Cité de la céramique at Le Caroussel du Louvres.
Working with paper brought her to the use of clay, which has become her favorite matter to work with.
Her work consists mainly of white sculptures and mobile installations and is mostly inspired by nature.
When she met ceramist Jean-François Reboul in 2015, it enabled her to deepen her learning and affirm her artistic approach.
The same year she created her first monumental installation «La Fée des Pétales» for the Hôtel de Croisilles, in Paris.
In 2016, her sculptures were shown during a personal exhibition in Le Musée de la Tour du Moulin in Burgundy.
She presented her work in 2017 and 2019 at the Révélations art fair at Le Grand Palais in Paris. Louise now collaborates with luxury brands such as Hermès, Bonpoint, Yiqing Yin Haute Couture, she works for the real estate company Vinci Construction and sells her sculptures to interior designers such as Minassian Chahan. Her sculptures are currently presented at the designer Philippe Hurel’s showroom in Paris.
She works with the Parisian gallery Amélie Maison d’Art since 2015.
The Loo & Lou gallery presented her work at the JustLX Art fair in Lisbon in May 2019. She prepares her first solo show at the gallery for November.
In June 2019, Louise Frydman received the Prize « l’immeuble, 1’oeuvre», presented by the Minister of Culture Franck Riester, for her collaboration with Vinci Immobilier.
She was also selected at the ICAA International Competition Blanc de Chine and her work is shown in Beijing until August 1st, 2019.

Dan Barichasse was born in Casablanca, Morocco, in 1949. He lives and works in Paris. He began his pictorial journey in 1976. Dan Barichasse’s work evolved from minimal and formal shapes to the contemporary approach of the landscape taking shapes in patterns. Gradually, memory, time, creation, begetting came in circle as themes engraving his work with permanency and mutation. Series such as “Au commencement”, “Passage”, “Figures aux sources”, “Déluges” are giving the image of this time lapse, in which a poetic pictorial language emerged. Still today, invocation of mineral, vegetal, animal and human figures shows from this vocabulary. The mutation process of matter is questioned in Dan Barichasse’s work, from reshape to rotting, matter comes to dust, to the essential origins of the shapes, refined in spirituality (as in “Poussières d’ombres”, “Peintures pauvres”, “Buisson ardent”). An extreme fluidity symbolizes his work, ephemeral, shadows, dust and fire come to terms with endless and strong urging of shapes, as in the series “Éternel éphémère”, “Âmes errantes” and “Tondos”.

Dan Barichasse’s work have been acquired by the Fond National d’Art Contemporain and the Paris’ city hall collections. He participated in about thirty solo-shows and several collective exhibitions in France and abroad (Belgium, Spain, Israel, Quebec…).