As the bearer of a story, or even a message, every work of art transmits to its viewer a sum of visual, thematic and, for the most perceptive, technical information. To understand a creation, you must go back its making. From its appearance, form, iconography and style to its method of conception, the choice of material, the references used, and the technique selected. Every object is the repository of the context in which it was made and of the choices made by its author, who consciously or unconsciously inscribes his own knowledge and concerns into it. This imprint left on the work is the common denominator of the artists.
Evocating of a luxuriant and mysterious nature, Safia Hijos’ ceramics take place in interiors like invasive exotic plants that would grow far from any human surveillance. They invade a corner of a wall or the edge of a fireplace and impose themselves to the eye by their large volume and their shimmering colors.
A suspended time in which we look with astonishment at a place without interest, without importance and that nevertheless attracts the attention. This insignificant and unpredictable moment influence Mariano Angelotti’s work. The artist tries to capture the light, the colors, the plants and other details part of these particular moments. Like their subject, these paintings mysteriously capture the gaze that searches in vain for the reason of this sudden attention. Mariano Angelotti’s paintings invite the viewer to linger on the fleeting beauty filling the daily life. The unexpected, the details reserve many surprises
Questioning our relationship to space and time, the works of Safia Hijos and Mariano Angelotti offer a vision of the world in the interstice of our current lifestyles, fast, noisy, leaving no room for the beauty of a harmless and imperfect hazard. They develop an ode to this insignificant and constrained chance which appears like a detail of the daily life in the corner of a wall or a street and offering a time of stop, a moment of observation, something to wonder about these forsaken and usually invisible presences.
In a Fauvist painting, the colours are vibrant, exacerbated, but above all used in a raw manner, as they are, without being mixed together on the palette. This way of painting was unconventional for that time. This way of painting was unconventional for that time.
Antagonism marks out the whole production of La Double Clique, oscillating between graphic and object design, technology and tradition, industry and craft. A subtle mix of approaches and techniques converge in the work of the two protagonists, Thomas Roger and Trystan Zigmann. Their multidisciplinarity, their inspiration and their technique create a poetic and intriguing syncretism.
The in-between, this space for doubt and reflection makes nuance possible, not only of thought but also of matter. The in-between, this state runs away from certainty to leave room for experimentation, failure and novelty creating a limitless field of possibilities. The in-between, this association of two entities which is neither one nor the other, and both at the same time.