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.

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