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.
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.
To paint the sky. The shades of blue, white, grey and red come togheter into a homogeneous set. The immaterial extends over Dorothée Louise Recker’s canvas. The center of her subject? Light, colors and memories. The many layers of paint spread with a brush merge into subtle gradations of color, often solar, celestial. The details disappear under her gesture trying to capture the essential, to translate her emotions in front of nature and the compositions that the sky offers her.
Between a plastic approach and a political dimension, Emmanuelle Roule’s work is developed around and from clay. With its age-old history through its use in housing and ceramics, this material also has multiple unexploited properties. This postulate of Emmanuelle Roule marks her entire production tinged with experimentation and multidisciplinary crossing.
Thinking out of the box of our reality to dive into a universe that is certainly not far from ours, but sufficiently unspeakable to generate curiosity and questioning, this is the experience that connects the work of Lise Stoufflet and Studio BISKT for Avenue du Roi. There is no obvious visual similarity despite some analogies in their creative process, in particular through their search for inspiration in the living space that is Avenue du Roi, but there is a disturbing parallel in the strangeness of their production. Disturbing because they are so different and so close at the same time!