Born in 1967, with Catalan and Italian ancestry, Elia Pagliarino shared her childhood with the handicapped residents at the establishment where her parents worked. In this environment where the unusual easily adds to the imagination, this influence certainly helped to build a foundation for her thought process based on the role of appearance, the notion of “normal” identity and physiology.
Estelle Contamin is mostly inspired by her familiar world, her family and friends, but as seen through the veil of time passing and frozen moments. We are represented in a blur, as close as possible to the paradise of nature or childhood, as it appears to us in its polymorphous strangeness. Between the latter and us, in fact, where there are challenges of communication, where we approach it with our rational logic, when it is imbued with spontaneity, immediate connection to the world, and poetry. It is this spirit, ultimately very dreamlike, that the artist tries to capture, in freshly sweet colours, those that are leant to childhood.
At first, Zineb Guérout’s painting evolved in a world where dream and surrealism happily coexisted. By chance she met painters whose mode of expression was totally opposite from hers, that of geometrical abstraction. The contact happened at Claude Dorval’s gallery in Paris.
For several years the famous curator welcomed Zineb Guérout, among her abstract artists, without any explanation.
Zineb’s paintings emerge more and more pure, still without becoming abstract, but keeping this part of lyricism, there is a constant play between shape, space and light, this is her long lasting trade mark and it gives a particular presence in each of her paintings.
Laura Bofill was born in Barcelona in 1983. She followed her studies in many international universities such as Barcelona, New York, London and Dublin.
After having explored disciplines such as film directing, graphics, photography, textile design, ceramics and painting, Laura has learned a synthesis through the addition of a new material in the family workshop; resin.
Amongst her different European exhibitions, are those which have been devoted to her work, the Fries art gallery in Germany, Antoni Lopez Rieche in England and De Galerie Den Haag in Holland.
Her work has been proudly represented at the famous well-known art shows at Stockholm, Manchester, Amsterdam and Madrid.
Her technique is characterized by eclecticism, as much the medium as the materials and a careful attention as to the expressive possibilities of their association.
The gloss and the transparency of resin underlines the contrast and the depth of the photographic images while the painting enhances the subtle relief’s textures.
Laura Bofill mobilizes an arsenal of textures which offers a research on loneliness. This sentiment is seen as a prism revealing facets that are the dream, melancholy, desire.
These mental states which arise when man is faced with himself, are questioned through modernity, they are gradually removed, piece by piece from the individual by representing solitude.
Born in Barcelona in 1971, Pep Bofill has always been surrounded by art. He later trained in sculpture, drawing, painting and digital art.
He creates photos and digital drawings on resin, perspex and acrylic. These materials create an imagination that propels the human condition into a parallel universe, between the real and the virtual.
These works have been exhibited in European art fairs such as Paris, Lille, Cologne, Copenhagen and Stockholm, international galleries and foundations such as the Said Tlemcami gallery in Casablanca, the Alba Cabrera gallery in Valencia, and the Schortgen gallery in Luxenbourg. In 2005 Pep was a finalist for the Vilacasas Foundation prize and his work is part of the foundation collection.
The purified compositions of Pep Bofill reveal the evocative power of graphics and semantic codes of virtual animation.
The moving shadows are stripped of their recreational aspect, their ambiguous aura wanders in large urban areas, it fluctuates between the calm access to the artificial space and the angst which brings alienation.
The emotional contrast is accentuated by the game of empty vs full and an almost desaturated colour palette, enhanced by mysterious coloured dots.
A piece by Kalie is a visual field where many realities overlap.
The eye wanders. Be close, if you go back a few steps the focus changes. The overall look of the piece is always subject to disturbances. A layer appears, another disappears, from blurriness to clearness, without us even noticing. We accept that at least one part of the image is always concealed; therefore the piece can never be seen as a whole. You always feel that you are missing something. The governing principle is the link of experiences lived; inherent of our own status in the world?
This is a visual sensation, around the theme of “The 4 Seasons”, plus one (which is split into three parts).
One mobile, 5 tondi and draft sketches.
During the Renaissance the tondo, (a relief based on the circular Roman cameo), was put on the ceiling as a tribute to a particular personality. In later times it was displayed on the walls instead.
They were offered to women who had just given birth in the form of a painted plateau.
What is at the top is like what is at the bottom, no gravity but a central point, an axis around which spins the subject; the body, largely present in earlier work, now gives way to nature and its rhythms.
The confrontations of experiences lived and of travelling in Asia contribute to the creation of art in her apartment.
The visual destabilisation is strengthened due to the lines of a geometrical crystal clear network and to the application of colour using the neo-impressionist method of pointillism. Whether looking from above or below, we are brought to forget our own rhythms, to access the fifth season.
Modelled on the extent of the void.
In the controversy or perhaps the conformity, between the natural and the artificial, which intrigue so much the Renaissance humanists, contemporary artists have innovatively brought together local heterogeneous materials. And so, on her long wanders through the forests, Anne Delfieu collects beech branches which she transforms into strange shapes, as determined by the natural differences of the beech.
After de-structuring, re-forming, compressing and colouring by the contribution of various
materials, she then carves webs on the walls. Here, one loses attention, prompting primal vibrations within. Another time, these are panels with a surface which is rough, ridged, fringed, flaring, climbing, where incernables refract the shadows. The wall reliefs by Anne Delfieu are modelled on the extent of the void, the interlacing of uncertainty, which, after twists and bends, are resolved into a long serenity of breath. In this setting of nothingness, this which plays, surely participates in our attachment to our own finitude.
John Misic
Born in Germany in 1953. He graduated with a diploma from l’Academie des Beaux Arts in Kalsruhe in 1980.
In 1985 Robert Schad received an order from the Museum für Neue Kunst, he then switched to the exclusive use of steel in his sculptures. Solid steel bars with a square cross section of 4.5 cm and 6cm to 16 cm for exterior pieces.
The metal bar remains of human proportion, the hand maintains contact with the material, and it is he who retains control of the gesture in space, like the pencil at your fingertips.
Robert Schad by this continuity draws with steel bars.
The steel is not forged, it is cut, welded. Robert Schad breaks the curves possible. He
imposes a rhythm of choppy appearance and is part of a ripple in connection with the expressions danced. The shapes are laid directly without a base. They rise from the ground, like trees where they are put. The shape is always unbalanced in its movement and yet stable. The inversion due to any permanent static sculpture, finds movement even in the
treatment of the shape, always brought to the brink of collapse, forcing the eye to circulate around the room, and through to follow the different accents.
The pieces posed or arising from the ground have a weight, a resistance which, at the beginning of the movement in space and time, to the point of imbalance, to overcome the weight of the material to be deployed with a strange lightness. The action of the hand and the steel being implemented create rhythms, structure and alter the space, that is to say the relationship of the matter between them. The pieces by Robert Schad, by their linearity, their asceticism, fluctuate between organic forms and choreographed architected structures close to the research of Gehry, also related to constructivism. Robert Schad establishes a variety of shapes on a basis of six: The Line Connected to the Rhythm – Concentrated Block – The
Spiral Shape – The Closed Circle – Vertical Bars and Portable Bars.
Robert Schad’s work is displayed in museums, public squares, embassies, urban landscapes, public and private parks and indoors…Robert Schad creates art with steel, applying the actions in the three dimensions of space.
Seba Lallemand: the fortune of the misfortune of being creative,
of being a true artist.” by Oliviero Toscani
The true creative, the true artist, has everything against himself, all trends, all snobbism, he is beyond all fashions, he is simply creative. Not everybody can allow himself to be an artist; it takes courage in assuming all the happy unhappiness, of a destiny dedicated to art and to creativity. Because creativity is genesis, birth, divine force, energy, fantasy, suffering, dedication, faith, generosity. Creativity needs energy and courage but lives in total insecurity. You cannot be creative and be secure.
Seba Lallemand is in his way, the most interesting artist I met in Fabrica while I was director. Always propositive, independent from technology, he always managed to surprise, with his creative proposals, with a vision that comes from an uncomfortable angle. Seba is a true artist, with the cursed fortune of having the misfortune of being creative, meaning: damned, unhappy, alone, visionary, insecure, misunderstood, diabolic, suffering, genius, subversive, generous.
Seba Lallemand, artist painter, born in 1973. After his Studies at ÉSAD Orléans, he joined the creative team at Fabrica directed by Oliviero Toscani. In 2000, his first short-movie “Afterwords” is screened at the Venice Film Festival. In 2008, after 6 years in China and a collaboration with Ai Weiwei as a cinematographer, he comes back to France and he decides to dedicate all his time to drawing and painting. In June 2015 at the “Triennale d’art contemporain de Vendôme”, he realizes an installation “Champagne”, a “bubbling” of 3 meters by 17 meters on glossy paper.
François Weil visits quarries across the world to find the most remarkable rocks, looking closely at their shape, grain and colour.
Once they are in his studio, he leaves them for a while before assembling and putting the rocks into motion.
The rocks are mounted onto a steel turning mechanism. Ultimately, perfect balance is achieved. We feel invited to touch the sculpture and feel a sense of astonishment when we are effortlessly able to put these enormous rocks into motion.
François Weil works with a geological mind. This instinctual sensation can be found within us all, and here it is rediscovered by the senses; the eye and the hand.
