SELEÇÕES DE ESPECIALISTAS
SELEÇÕES SELECIONADAS DE OBRAS DE ARTE DE ESPECIALISTAS RECONHECIDOS NO MUNDO DA ARTE CONTEMPORÂNEA.
JÉRÔME PANTALACCI
A CRENÇA PELA IMAGEM
Um olhar fotográfico
A fotografia desde sua criação carregou em si a validação da credulidade do observador. Ela foi percebida imediatamente como um reflexo fiel do real. O que ela nunca foi. Os fotógrafos nunca se limitaram a essa fidelidade, e pegaram a câmera para trazer um outro olhar sobre o mundo e brincar com nossos sentidos perceptivos.
Na hora em que o digital e a inteligência artificial permitem todas as manipulações, e onde a imagem é constantemente questionada, enquanto a fotografia perdeu toda validação de credulidade e o observador não acredita mais no que vê, fotógrafos continuam a brincar com a câmera, com o enquadramento, com o ponto de vista mono-focal, para produzir imagens que nos levam a olhar o mundo de outra forma.
Trazer uma nova atenção ao mundo, apenas se aproximar do real ou mudar seu ponto de vista é um descanso para o olho em um mundo submerso de imagens inválidas que nos fazem perder nossa crença na realidade.
Um olhar fotográfico. A fotografia desde sua criação carregou em si a validação da credulidade do observador. Ela foi percebida imediatamente como um reflexo fiel do real. O que ela nunca foi. Os fotógrafos nunca se limitaram a essa fidelidade, e pegaram a câmera para trazer um outro olhar sobre o mundo e brincar com nossos sentidos perceptivos. Na hora em que o digital e a inteligência artificial permitem todas as manipulações, e onde a imagem é constantemente questionada, enquanto a fotografia perdeu toda validação de credulidade e o observador não acredita mais no que vê, fotógrafos continuam [...]
Um olhar fotográfico
A fotografia desde sua criação carregou em si a validação da credulidade do observador. Ela foi percebida imediatamente como um reflexo fiel do real. O que ela nunca foi. Os fotógrafos nunca se limitaram a essa fidelidade, e pegaram a câmera para trazer um outro olhar sobre o mundo e brincar com nossos sentidos perceptivos.
Na hora em que o digital e a inteligência artificial permitem todas as manipulações, e onde a imagem é constantemente questionada, enquanto a fotografia perdeu toda validação de credulidade e o observador não acredita mais no que vê, fotógrafos continuam a brincar com a câmera, com o enquadramento, com o ponto de vista mono-focal, para produzir imagens que nos levam a olhar o mundo de outra forma.
Trazer uma nova atenção ao mundo, apenas se aproximar do real ou mudar seu ponto de vista é um descanso para o olho em um mundo submerso de imagens inválidas que nos fazem perder nossa crença na realidade.
MARC DONNADIEU
IMAGES DE FAMILLE (L’ÉTÉ INDIEN)
Uma virada fotográfica. Esta virada fotográfica se atém ao período estival, momento onde se abandona o ordinário do cotidiano a fim de viver de forma diferente esse tempo de férias. Ela permite assim capturar com delicadeza novas histórias familiares, à semelhança das imagens de Hicham Ahyoud, d’Hervé Gergaud ou de Anne-Marie Bertin. O tempo da viagem se decompõe e se recompõe por excelência em fragmentos visuais. As obras de Henry Pouillon, Jean-Michel Ratron e Catherine Ballet são a ilustração perfeita através de efeitos de contraste, de deformação ou de superposição. Para muitos, a praia é o território emblemático das férias. Encontramo-nos lá em grande número enquanto nos isolamos dos outros. As fotografias de Cécile Ducrot, de Emmanuel Passeleu e de Hégémon Chaignon restituem assim a fragilidade humana frente à imensidão do horizonte marinho. Mas ela é igualmente uma conquista da verticalidade, como testemunham Gilliard Bressan e Sharlie Evans. Medimos forças com os outros como nos [...]
Uma virada fotográfica
Esta virada fotográfica se atém ao período estival, momento onde se abandona o ordinário do cotidiano a fim de viver de forma diferente esse tempo de férias. Ela permite assim capturar com delicadeza novas histórias familiares, à semelhança das imagens de Hicham Ahyoud, d’Hervé Gergaud ou de Anne-Marie Bertin.
O tempo da viagem se decompõe e se recompõe por excelência em fragmentos visuais. As obras de Henry Pouillon, Jean-Michel Ratron e Catherine Ballet são a ilustração perfeita através de efeitos de contraste, de deformação ou de superposição.
Para muitos, a praia é o território emblemático das férias. Encontramo-nos lá em grande número enquanto nos isolamos dos outros. As fotografias de Cécile Ducrot, de Emmanuel Passeleu e de Hégémon Chaignon restituem assim a fragilidade humana frente à imensidão do horizonte marinho. Mas ela é igualmente uma conquista da verticalidade, como testemunham Gilliard Bressan e Sharlie Evans. Medimos forças com os outros como nos abraçamos a dois através de figuras quase aéreas.
A fotografia é também uma questão de cores e de grafismo, assim como afirmam os crepúsculos melancólicos de Ori Junior, Debbie Scott-Queenin ou Elke Matthaeus.
Luc Pallegoix inscreve enfim, no coração das noites de verão, figuras totêmicas animais que remetem ao jogo tanto quanto ao sonho. E se jogássemos no verão?...
Uma virada fotográfica. Esta virada fotográfica se atém ao período estival, momento onde se abandona o ordinário do cotidiano a fim de viver de forma diferente esse tempo de férias. Ela permite assim capturar com delicadeza novas histórias familiares, à semelhança das imagens de Hicham Ahyoud, d’Hervé Gergaud ou de Anne-Marie Bertin. O tempo da viagem se decompõe e se recompõe por excelência em fragmentos visuais. As obras de Henry Pouillon, Jean-Michel Ratron e Catherine Ballet são a ilustração perfeita através de efeitos de contraste, de deformação ou de superposição. Para muitos, a praia é [...]
Uma virada fotográfica
Esta virada fotográfica se atém ao período estival, momento onde se abandona o ordinário do cotidiano a fim de viver de forma diferente esse tempo de férias. Ela permite assim capturar com delicadeza novas histórias familiares, à semelhança das imagens de Hicham Ahyoud, d’Hervé Gergaud ou de Anne-Marie Bertin.
O tempo da viagem se decompõe e se recompõe por excelência em fragmentos visuais. As obras de Henry Pouillon, Jean-Michel Ratron e Catherine Ballet são a ilustração perfeita através de efeitos de contraste, de deformação ou de superposição.
Para muitos, a praia é o território emblemático das férias. Encontramo-nos lá em grande número enquanto nos isolamos dos outros. As fotografias de Cécile Ducrot, de Emmanuel Passeleu e de Hégémon Chaignon restituem assim a fragilidade humana frente à imensidão do horizonte marinho. Mas ela é igualmente uma conquista da verticalidade, como testemunham Gilliard Bressan e Sharlie Evans. Medimos forças com os outros como nos abraçamos a dois através de figuras quase aéreas.
A fotografia é também uma questão de cores e de grafismo, assim como afirmam os crepúsculos melancólicos de Ori Junior, Debbie Scott-Queenin ou Elke Matthaeus.
Luc Pallegoix inscreve enfim, no coração das noites de verão, figuras totêmicas animais que remetem ao jogo tanto quanto ao sonho. E se jogássemos no verão?...
SONIA PERRIN
THE FOREST OF DREAMS
YourArt gives a voice to all visual artists and those who support them. Browse YourArt is a journey conducive to encounters, reflection, sharing of emotions and discovery. A walk where the diversity of creations and passions is comparable to the ecosystem of a forest. Artists are lookouts who invite us to keep our eyes open to the world.
Their testimony, in the selection offered here, highlights the beauty and richness of the living world through works that question the place of Man in his community. Networks or roots, branches or social fabrics, Man, just like the tree, flourishes within a living and global organization.
This link is not lost on artists who, in their representation of the plant world, denounce the imprint of Man on his environment, and encourage us to become aware of the vital nature that we have to modify our being-in-the-world.
Their testimony, in the selection offered here, highlights the beauty and richness of the living world through works that question the place of Man in his community. Networks or roots, branches or social fabrics, Man, just like the tree, flourishes within a living and global organization.
This link is not lost on artists who, in their representation of the plant world, denounce the imprint of Man on his environment, and encourage us to become aware of the vital nature that we have to modify our being-in-the-world.
YourArt gives a voice to all visual artists and those who support them. Browse YourArt is a journey conducive to encounters, reflection, sharing of emotions and discovery. A walk where the diversity of creations and passions is comparable to the ecosystem of a forest. Artists are lookouts who invite us to keep our eyes open to the world. Their testimony, in the selection offered here, highlights the beauty and richness of the living world through works that question the place of Man in his community. Networks or roots, branches or social fabrics, Man, just like the tree, flourishes within a living [...]
YourArt gives a voice to all visual artists and those who support them. Browse YourArt is a journey conducive to encounters, reflection, sharing of emotions and discovery. A walk where the diversity of creations and passions is comparable to the ecosystem of a forest. Artists are lookouts who invite us to keep our eyes open to the world.
Their testimony, in the selection offered here, highlights the beauty and richness of the living world through works that question the place of Man in his community. Networks or roots, branches or social fabrics, Man, just like the tree, flourishes within a living and global organization.
This link is not lost on artists who, in their representation of the plant world, denounce the imprint of Man on his environment, and encourage us to become aware of the vital nature that we have to modify our being-in-the-world.
SONIA PERRIN
COUPS DE ❤️ ART-O-RAMA
YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing. 1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video. 2/ Gaby Sahhar exhibits the Europe-Palestine project at Spiaggia Libera. Her paintings and drawings deal with the construction of identity linked to migration and gender identity. The series reveals hybrid architectures, between European capitals and the West Bank, and bears witness to the artist's phycho-affective context. 3/ Galerie in situ presents the sociological work of young visual and performance [...]
YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing.
1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video.
2/ Gaby Sahhar exhibits the Europe-Palestine project at Spiaggia Libera. Her paintings and drawings deal with the construction of identity linked to migration and gender identity. The series reveals hybrid architectures, between European capitals and the West Bank, and bears witness to the artist's phycho-affective context.
3/ Galerie in situ presents the sociological work of young visual and performance artist Oroma Elewa. In large-format photo and text tableaux, the artist questions the image of black women and the stereotypes associated with their cultural identity.
4/ At Gilles Drouault, artist Johannes Sivertsen draws inspiration from the great masters of classical painting, such as Delacroix, to question the mechanisms of power within dominant groups, and bears witness to the dual process of otherness and hostility towards minorities.
YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing. 1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video. 2/ Gaby [...]
YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing.
1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video.
2/ Gaby Sahhar exhibits the Europe-Palestine project at Spiaggia Libera. Her paintings and drawings deal with the construction of identity linked to migration and gender identity. The series reveals hybrid architectures, between European capitals and the West Bank, and bears witness to the artist's phycho-affective context.
3/ Galerie in situ presents the sociological work of young visual and performance artist Oroma Elewa. In large-format photo and text tableaux, the artist questions the image of black women and the stereotypes associated with their cultural identity.
4/ At Gilles Drouault, artist Johannes Sivertsen draws inspiration from the great masters of classical painting, such as Delacroix, to question the mechanisms of power within dominant groups, and bears witness to the dual process of otherness and hostility towards minorities.
THE DRAWER
RAINBOW PORTRAITS
Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous. Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or pencil with rainbow colors. These founding, free and transgressive figures are also reproduced in his works on canvas and paper. Far from the selfie and close to the homage, the images of Poleo-Garnier, a transformist artist heir to the pioneers Barbette, Claude Cahun and Manon, blend eras, genres and mediums, building aesthetic and sensitive bridges between the 20th and 21st centuries, between the [...]
Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous.
Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or pencil with rainbow colors. These founding, free and transgressive figures are also reproduced in his works on canvas and paper.
Far from the selfie and close to the homage, the images of Poleo-Garnier, a transformist artist heir to the pioneers Barbette, Claude Cahun and Manon, blend eras, genres and mediums, building aesthetic and sensitive bridges between the 20th and 21st centuries, between the visual arts and the performing arts.
Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous. Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or [...]
Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous.
Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or pencil with rainbow colors. These founding, free and transgressive figures are also reproduced in his works on canvas and paper.
Far from the selfie and close to the homage, the images of Poleo-Garnier, a transformist artist heir to the pioneers Barbette, Claude Cahun and Manon, blend eras, genres and mediums, building aesthetic and sensitive bridges between the 20th and 21st centuries, between the visual arts and the performing arts.
STARTER
ARTYSANAT
If the boundary between art and craft has always been difficult to draw, today it is even more permeable with the arrival of technologies capable of reproducing the work of the human hand.
By turns craftsmen, designers, photographers, sculptors, and sometimes all at once, the artists in this selection produce works that are veritable condensations of technicality, whether automated or manual. While they sometimes call on cutting-edge technologies such as artificial intelligence, they also revisit ancestral methods where calm and patience are de rigueur, the combination of these skills leading to a redefinition and new incarnation of aesthetic codes.
Is it still possible to distinguish the work of man from that of the machine?
This tour questions the role of the hand in contemporary production, whether by its absence when it is replaced by an algorithm, or by its obvious presence when the work reveals a commitment to the artist's gesture and body.
By turns craftsmen, designers, photographers, sculptors, and sometimes all at once, the artists in this selection produce works that are veritable condensations of technicality, whether automated or manual. While they sometimes call on cutting-edge technologies such as artificial intelligence, they also revisit ancestral methods where calm and patience are de rigueur, the combination of these skills leading to a redefinition and new incarnation of aesthetic codes.
Is it still possible to distinguish the work of man from that of the machine?
This tour questions the role of the hand in contemporary production, whether by its absence when it is replaced by an algorithm, or by its obvious presence when the work reveals a commitment to the artist's gesture and body.
If the boundary between art and craft has always been difficult to draw, today it is even more permeable with the arrival of technologies capable of reproducing the work of the human hand. By turns craftsmen, designers, photographers, sculptors, and sometimes all at once, the artists in this selection produce works that are veritable condensations of technicality, whether automated or manual. While they sometimes call on cutting-edge technologies such as artificial intelligence, they also revisit ancestral methods where calm and patience are de rigueur, the combination of these skills leading [...]
If the boundary between art and craft has always been difficult to draw, today it is even more permeable with the arrival of technologies capable of reproducing the work of the human hand.
By turns craftsmen, designers, photographers, sculptors, and sometimes all at once, the artists in this selection produce works that are veritable condensations of technicality, whether automated or manual. While they sometimes call on cutting-edge technologies such as artificial intelligence, they also revisit ancestral methods where calm and patience are de rigueur, the combination of these skills leading to a redefinition and new incarnation of aesthetic codes.
Is it still possible to distinguish the work of man from that of the machine?
This tour questions the role of the hand in contemporary production, whether by its absence when it is replaced by an algorithm, or by its obvious presence when the work reveals a commitment to the artist's gesture and body.
STARTER
IMAGINING THE INVISIBLE
Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space. The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's clichés born of an immobile voyage. Representations of that which is not visible from our own point of view fuel both hopes and fears. Blaise Schwartz asks us: are we strangers to our own world? What is invisible arouses curiosity and leaves potential room for a new apprehension of space, as illustrated by Yannis Khannoussi. But the unknown remains a threat. Space images offer a window [...]
Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space.
The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's clichés born of an immobile voyage.
Representations of that which is not visible from our own point of view fuel both hopes and fears. Blaise Schwartz asks us: are we strangers to our own world?
What is invisible arouses curiosity and leaves potential room for a new apprehension of space, as illustrated by Yannis Khannoussi. But the unknown remains a threat.
Space images offer a window onto distant worlds, but also materialize the extent of our ignorance, stimulating our desire to discover, feeding the fantasy of another form of life, but also scientific research, supporting the need to explore the abysses of our galaxy.
Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space. The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's [...]
Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space.
The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's clichés born of an immobile voyage.
Representations of that which is not visible from our own point of view fuel both hopes and fears. Blaise Schwartz asks us: are we strangers to our own world?
What is invisible arouses curiosity and leaves potential room for a new apprehension of space, as illustrated by Yannis Khannoussi. But the unknown remains a threat.
Space images offer a window onto distant worlds, but also materialize the extent of our ignorance, stimulating our desire to discover, feeding the fantasy of another form of life, but also scientific research, supporting the need to explore the abysses of our galaxy.
THE DRAWER
THE ART OF BLURRING
Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The first is based on violent news images, which she reframes and redraws in her own way. The second seeks to depict atmospheres, worlds, seascapes or forests. For Houston Maludi, it's the accumulation of details that leads to a form of indeterminacy. From a distance, the compositions resemble an abstract motif. Up close, an urban landscape comes to life. Charles Le Hyaric, for his part, seeks to mimic [...]
Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The first is based on violent news images, which she reframes and redraws in her own way. The second seeks to depict atmospheres, worlds, seascapes or forests. For Houston Maludi, it's the accumulation of details that leads to a form of indeterminacy. From a distance, the compositions resemble an abstract motif. Up close, an urban landscape comes to life. Charles Le Hyaric, for his part, seeks to mimic "what we perceive of this great whole called nature". He entitles his canvas "Ouvrir les yeux sous l'eau" ("Open your eyes under water"). And everything naturally becomes a blur. English artist Jack Warne, who suffers from a hereditary corneal disease, manipulates the source photographic image to create compositions in which real objects stand out. These works are best viewed with eyes half-closed, to gain new insights into our world and theirs.
Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The [...]
Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The first is based on violent news images, which she reframes and redraws in her own way. The second seeks to depict atmospheres, worlds, seascapes or forests. For Houston Maludi, it's the accumulation of details that leads to a form of indeterminacy. From a distance, the compositions resemble an abstract motif. Up close, an urban landscape comes to life. Charles Le Hyaric, for his part, seeks to mimic "what we perceive of this great whole called nature". He entitles his canvas "Ouvrir les yeux sous l'eau" ("Open your eyes under water"). And everything naturally becomes a blur. English artist Jack Warne, who suffers from a hereditary corneal disease, manipulates the source photographic image to create compositions in which real objects stand out. These works are best viewed with eyes half-closed, to gain new insights into our world and theirs.
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NEW PERSPECTIVES
This selection aims to highlight, in the most respectful way possible, an artistic and activist presence that offers new perspectives, in particular a generation of LGBTQIA+ artists whose practices are seizing on societal issues.
Through their work, these artists convey values of inclusion, witness and respect for difference.
The selected works explore shifting identities in both discourse and form, illustrate dreams and inspirations, raise awareness of sexual and gender discrimination, challenge heteronormative and cisgender models, and above all reject injunctions to fit into boxes.
Through their work, these artists convey values of inclusion, witness and respect for difference.
The selected works explore shifting identities in both discourse and form, illustrate dreams and inspirations, raise awareness of sexual and gender discrimination, challenge heteronormative and cisgender models, and above all reject injunctions to fit into boxes.
This selection aims to highlight, in the most respectful way possible, an artistic and activist presence that offers new perspectives, in particular a generation of LGBTQIA+ artists whose practices are seizing on societal issues.
Through their work, these artists convey values of inclusion, witness and respect for difference.
The selected works explore shifting identities in both discourse and form, illustrate dreams and inspirations, raise awareness of sexual and gender discrimination, challenge heteronormative and cisgender models, and above all reject injunctions to fit into boxes.
Through their work, these artists convey values of inclusion, witness and respect for difference.
The selected works explore shifting identities in both discourse and form, illustrate dreams and inspirations, raise awareness of sexual and gender discrimination, challenge heteronormative and cisgender models, and above all reject injunctions to fit into boxes.
