Jean Paul Moscovino sculpts with colour like we peel rind from a fruit in order to recreate the shape. Does the shape exist because of the full or the empty space? Only the coloured face reveals the meeting between them both.
The artist is looking for his marks in the representation of this boundary, he cuts and curves to create the third dimension. (3D)
All the subjects are figurative : the shape is the only thing that matters in the journey !
Life is like this , full of loving relationships between material and spiritual, between visible and invisible, limited and unlimited…

ADRIEN FREGOSI

Adrien Fregosi’s artistic production is based on his original practice of drawing. other «medium» gravitate around it, which always find their anchor point there. This use of drawing usually involves a work of composition of disparate elements, which plays on a certain imbalance, between excess and lack. These arrangements often come from recovery, poor materials, found, outdated, unsuitable.

Between personal mythology and a scholarly relationship to alternative cultures, Adrien Fregosi’s work is referenced: he is particularly interested in the renewal of figurative painting, self-publishing, independent graphic scenes from comic strips, and the aesthetics of graffiti culture.

The lexicon used in the artist’s productions is the result of all this research, but these references, digested, are not required when reading these paintings with a tragic-comic narrative. The execution is instinctive, because the draft is not conceived or thought in advance, but allows to build a drawing a posteriori, in refusal of any virtuosity. This creative process in several stages then reveals a form of monologue, acid and tender, which is almost ritual, a liberated energy, a therapeutic process.

PAUL LOUBET

Born in Hérault in 1987, Paul Loubet is a French artist currently living in Valencia. After obtaining a licnse in graphic design from the Institut Saint Luc de Tournai, he moved to Buenos Aires for 5 years where, encouraged by Tristan Rault, he developed his work as a painter.
As an Artist he has been exhibited in France, Argentina, Brazil, Germany, Belgium, Hungary, United States or Spain.

In 2017, he was one of the 7 finalists in the Sciences Po Contemporary Art Competition and won the ADAGP and Palais de Tokyo Urban Art Revelation Prize.

Passionate about popular arts, raw art and many outsider practices, his work is an assemblage of all his references associated with a desire to simplify forms.

At the crossroads between abstract and naive art, Paul Loubet’s work involves a double level of reading, one based on geometric compositions defining spaces and the other more figurative expressed in the spaces thus defined.

Painting exploiting all scales (from canvas of variable format to wall) and sculpture remain the preferred means of expression. `

The themes evoking an uncertain future seem to be constrained in their representation by the limits of their possible technical expression. Although treated with sarcasm or cynicism, they usually reveal an underlying anxiety state.

MARTI SAWE

The artist Marti SAWE was born in Barcelona in 1986. He began to write graffiti at the age of 14, a practice he continues to this day and that was to radically transform his perception of the city. He studied illustration at the La Massana art school. Following his studies, graffiti provided him with the means to combine his work as an illustrator with travel and exhibitions throughout the world. The contrast between the technique, control and discipline he learnt from illustration and the irreverence, flow and disinhibition of graffiti is clear in all his work. His letters and drawings break from the norm and are never formulaic. A tireless explorer, SAWE taught himself animation and founded the MANSON audiovisual studio in 2014, together with three other artists. His career includes four productive years immersed in the animation world, working with leading brands and artists to produce adverts and video clips and as an art director… In 2018, following his first solo exhibition in New York, he decided to focus exclusively on his career as an artist: painting, murals, sculpture, installations, video-art…

WILD CUISINE

Without contours, this duo tries to surf on the
winds of freedom.
Out of pure intuition and love of sensations,
the range of possibilities makes this cuisine a real
experimental field as messy as
magical.
Through fermentation, the
cold smoking, the production of dinosaur eggs, or the manufacture of a wheelbarrow-
fryer, La Cuisine Sauvage travels between art

and cuisine; with only flag its love
of laughter and sharing.
Also very interested and influenced
by the spirit of the biffin, we will find in many
of their performance and interventions, all
kind of hybrid culinary machine, mixing
recovery objects and techniques from
of bricology.
Inspired by their many travels,
our two sidekicks experiment and
reinterpret their vision of tastes and
senses, art and cuisine, with humour
and generosity.

David Burke was born in Buffalo, New York in 1969. His formal education includes an MFA in Sculpture at Ohio University, an MS in Communication Design from Pratt Institute. For nearly a decade he worked in product and packaging design as well as assisted seminal feminist artist – Lynda Benglis.

A recurring theme in his work includes the examination of identity in craft practices of knitting, crocheting, sewing, quilting, beading with the codification of gender roles and labour practices. The time he spent in Tanzania observing and participating in craft processes (woodworking, textiles) was an inspiration and point of origin for the investigation of these issues in his own practices and cultural reflection.

My work develops itself around the ruin and how to perceive the ruin through childhood and its materials, its experiences. This process was born in known places and through personal experiences, my playground were mostly placed in the Aisne department (north of France) next to the Ladies’ way or on the Opal coast on which we can find lots of bunkers’ ruins from the Atlantic Wall. Nowadays, this work consists in a tension between construction and destruction, between discovery and recovery, and as a consequence, between game and ruin.

I am interested in the motivations of the vain action, pointless gesture, which appears from the childhood and without half-measure, hidden but omnipresent in the adulthood, as an inevitable rite. So the enactment, the shams are also present in my work and are plastically translated by comings and goings and a complementarity between the practices of the model making and the drawing. The game is a regulated space given to random, to sabotage, it is an inevitable waste of time, always repeated. I try to capture the moment when the space of this game disappears and when the dices are still in the air. When we can make a move aside and admit the fact that we could have wish to lose, when we stop the events before their fall, let make and contemplate our own imbalance, the varnish ready to crack, stuck between a victorious vulnerability and a fun resignation. This is about digging or burying, playing with an infinity of combinations in a finish universe. As a consequence, the artworks or the process of creation can be read as an articulation like kind of role playing games, or like the exploration conducted in the books in which you are the hero (Game- books) with unlimited possibilities of scenarios, or as a video game quest.

This balance is created between artworks which can play one by one or at the same time, different roles, with the idea of trying to perceive the possibilities of places taking different identities, with the wish of pointing individual history in a bigger and collective history, with the wish of revealing the changes of a landscape through souvenirs, and to consider landscapes or places as « used landscapes », and finally the attempt of considering the rebirth of ruins and to define them as a real way of construction, with its own mechanisms.
Finally, my ideas are coming from places, landscapes but also from RPGs, build and smash games and even more from 19th century literature.

Marie Havel is represented by H Gallery, Paris.
www.mariehavel.com

Entropy, dispersal, corrosion, imprint, trace, compression, leak, zone, border, defeat, confinement.
This is a not exhaustive list of my visual work’s components, organized around the notion of accident and its informative treatment. From the thrown-out piece because of a micron default to the Chernobyl disaster, crystallizing a huge questioning, I propose plastic shapes dealing the multiple facets of these transformations.

More generally, my artwork focuses itself on the effects and the products of the industrialization. Every industrial system seems to involve containment, control of energies and materials and as for any system, the infallibility can never be possible. As a consequence, I choose to explore these systematic weaknesses through various scales as well as the individual behaviours when facing the sand grain in the gears which could make the machine derail. For that reason, the concept of entropy which measures the degree of chaos present in a system, is an essential point in my visual approach of places, objects or stories I am dealing with.

Starting from defects, rubbishes and accidents, I try to find a poetic shape to fill the blanks left by the derailments, taking part in any artificial productions. Progressing by the empirical experiment of materials, always connected to an industry or to a precise exploitation, some artworks evolve, revealing some kind of self-destruction (Reggane, Under Destruction). The self-destructive art manifesto (1959) and its inseparable counterpart, the self-creative art, was for me a point of seesaw. So the work of the artist Gustav Metzger, who wrote those manifestoes, is kind of a milestone in my understanding of contemporary art.

As a consequence, my artwork may be considered as many thoughts and observations about the Promethean myth of the technological tools control and of its limits.

Paul Loubet est un artiste français né à Béziers en 1987. Après avoir obtenu son diplôme de l’école Saint Luc de Tournai en Belgique, il part vivre 5 ans à Buenos Aires, Argentine. Là-bas, soutenu par Tristan Rault, il commence à peindre sur toile et à exposer son travail en galerie.

Son travail a été présenté en Argentine, au Brésil, en France, en Belgique, aux USA, en Allemagne, en Espagne et en Hongrie. Il a été finaliste du prix Science Po pour l’art contemporain 2017 et récemment a obtenu le prix ADAGP/Palais de Tokyo révélation talent urbain.

Au fil des ans, il a développé de nombreuses compétences et a pu expérimenter diverses techniques comme la céramique, l’aquatinte, la sérigraphie, la lithographie, la tapisserie, le tatouage, ou le muralisme. Ainsi il essaye de transposer son travail à toutes les échelles allant de minuscules sculptures aux immenses peintures de façades d’immeubles.
Avec les années il a réduit son vocabulaire formel pour obtenir un résultat de plus en plus simple et fort avec le moins d’éléments possibles, rappelant à beaucoup de personnes les vieux jeux vidéo 8bits, lesquels évoquent à l’artiste les anciennes tapisseries. Parce qu’il a toujours été fasciné par “dire beaucoup avec peu”, il tente d’en imprégner ses peintures. Cela ressemble à un pixel, mais c’est imparfait et manuel.

La plupart de ses réalisations récentes sont axés sur la représentation du drone. En utilisant primitivement un artefact moderne, il veut explorer différentes pistes de réflexion autour des nouvelles technologies, de l’intelligence artificielle, de l’archéologie et du déclin de la civilisation.

Tania Mouraud is a major figure of the French art scene whose artistic production is unclassifiable. She doesn’t cease to reinvent her practice since the end of the 1960’s, through various media: painting, installation art, photo, sound, video, performance. Her work questions the aesthetic relationships between art and the violence of our world, as well as the limits of perception via her « shaped words » (« mots de forme »). Since 1998, she considers photo, video and sound in a close relation to painting in order to question several aspects of History and the living world. Mouraud’s committed art should be understood as a citizen’s public speaking. The struggles she stands up for are the one of an artist who lives with her eyes open to the world.

Une citation de l’artiste …

Tout comme la graine se développe dans la nature, je développe le cycle Germination depuis plusieurs années.
Au départ les formes étaient simples, un peu refermées sur elles-mêmes, au fil des années elles s’épanouissent, deviennent plus florales tout en demeurant abstraites. Bien qu’imprégné de l’univers végétal, mon propos n’est pas de représenter la nature, je cherche simplement à créer des formes harmonieuses et sereines.

Mes sculptures touchent à l’identité, à l’espèce, au genre dans ce qu’ils ont de commun et de différent. Elles jonglent entre un univers artificiel, semblant issues du monde de la bande dessinée à un rapport au monde plus existentiel.
En tant que grand lecteur de romans policiers, je me laisse prendre au piège des histoires où les codes de la fiction et du réalisme cohabitent parfaitement.

La forme naît sur le papier de façon spontanée et intuitive d’un simple trait, juste le contour à échelle 1. Je ne fais aucun autre dessin ou maquette préparatoire.
Le volume prend corps d’abord virtuellement face au dessin et se précise au moment de la fabrication et de l’élaboration de la sculpture, laissant une part à l’improvisation.

La ligne courbe reste une des constantes dans l’évolution des formes, elle devient une sorte de fil souple mais tendu qui affirme des pleins et des vides.
Peut-être, ai-je un ressenti similaire à celui d’Oscar Niemeyer qui voit en la ligne droite, rigidité et contrainte alors que la ligne courbe nous entraîne vers des territoires inconnus.
Chaque sculpture est crée à la suite de l’autre, la réalisation de la première engage la suivante, comme des arrêts sur image dans l’ensemble d’un développement.
Si la courbe arrive jusqu’à présent comme un fondamental, le vide qui habite chaque forme est aussi essentiel, mes sculptures sont des sortes d’enveloppes sans organes dont la forme évolue au fil des années.

Je travaille uniquement, bien que je rêve parfois d’autres matériaux, avec des feuilles d’acier formées, découpées, soudées, tel un tailleur. Ce matériau lisse et résistant, arrive souvent comme contraignant, il engage une sorte d’ affrontement avec la matière qui doit se plier à mes propres désirs.
Une fois les différents éléments soudés entre eux, la forme finale reste à l’état naturel de l’acier corten ou sinon peintes de couleurs vives. En couleur, elles affirment leur caractère ludique, lyrique, dynamique; oxydées, elles manifestent davantage leur matérialité, leur densité.

Leur taille de réalisation est importante, car selon l’échelle, elles s’intégrent au contexte ou au contraire viennent pertuber le point de vue. Si j’aime que mes sculptures se fondent dans le décor, si inscrivent de manière harmonieuse, j’aime aussi qu’elles viennent, telles des intruses le perturber.
La partie lourde se trouvant souvent en haut et reposant sur une mince tige ne fait qu’ajouter à l’anomalie, c’est un jeu d’équilibre arbitraire, comme la baguette de bois que l’on tente de garder droite sur le nez.