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Naym Ben Amara, Bruit N°38, 2016. Dots in China Ink on Paper. 100x70 cm.
Naym Ben Amara, Bruit N°38, 2016. Dots in China Ink on Paper. 100×70 cm.

Naym Ben Amara

Born in Bastia in Corse (France), in 1984. He lives and works in Aveyron.

University studies in Organic Chemistry in Corsica, punctuated by artistic research extended to various practices: theatre, dance, painting.
Since 2014, Naym Ben Amara has devoted himself exclusively to drawing with Indian ink.

I sometimes point out that my aesthetic conduct usually begins with a blank sheet of paper. In explaining this research, I sometimes compare the blank sheet of paper to a neutral photographic film, a blank film. Like a photographer’s material, my medium is such that I can fix, concretise, realise and capture forms on it. It is possible to say, indeed, that I capture these forms: captation and, so to speak, catch. Captation because it is a sampling. Catch because it is called to be definitively fixed, that is to say, taken when it is unfinished, it is up to it, the form, to bear witness [to memory] to its concretisation, its materialisation. Dialogue, finally, because I have come to understand that the emergence of a form is undeniably a kind of conversation with it.

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Didier Béquillard, Suite Mexicaine N°2, 2014. Encre sur papier 32 x 24cm.
Didier Béquillard, Suite Mexicaine N°2, 2014. Encre sur papier 32 x 24cm.

Didier Béquillard

Born in Paris.
Lives and works in Pyrénées Orientales and in Hamburg.

Didier Béquillard Voyage, observe, s’observe, pour définir plastiquement l’humain par ce dont il s’entoure, se protège, ces formes qu’il crée et qui le moulent, ces chemins qu’il trace et qui l’orientent, souvent le dirigent. Architecture et urbanisme comme objets d’étude, paléontologie appliquée aux espaces humains, coquilles délaissées d’un étrange escargot dont la bave, fossilisée, à tracé routes, réseaux, maillages, trames. Voilà l’objet. — Etienne Glass, décembre 2010.

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Marielle Degioanni, Double Meaning, Perforations and watercolor, 18x26cm, 2020.
Marielle Degioanni, Double Meaning, Perforations and watercolor, 18x26cm, 2020.

Marielle Degioanni

Marielle Degioanni was trained in applied arts as soon as she completed her baccalaureate and obtained a BTS in visual communication in 1998. She gradually developed her drawing practice and followed a D.U. in artistic mediation therapy with a speciality in plastic arts at the University of Paris V Descartes in 2015. In parallel with her plastic research, which will intensify from 2012, she teaches in art schools.

My drawings are a commbination of radicality and delicacy, I attack the paper as I caress it, it’s an ambivalent process, which I like to compare to certain erotic games. I’m looking for an absolute, it’s a quest that concerns the questions of incarnation, of regeneration, of the vital vegetal and feminine energy, their sacred and universal character: it’s a question of giving substance to this invisible and out of language energy flow that I perceive. — Marielle Degioanni, september 2019.

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Gilbert Desclaux, Pastel • 25045, 2015
Gilbert Desclaux, Pastel • 25045, 2015

Gilbert Desclaux

Born in Perpignan (France), in 1947. He lives and works in the Eastern Pyrenees.

Trained at the École des Beaux-Arts de Perpignan in 1967, then at the École Nationale Supérieure des Beaux-Arts de Paris, Atelier Gustave Singier, Gilbert Desclaux obtained his Higher Degree in Plastic Arts, painting section in 1973. In Perpignan, in contact with Michel Bertrand, he develops a research centred on abstraction, gesture, surface and pictorial matter.

By crumpling and trituring the paper material he covers with acrylic or more recently pastel, Gilbert Desclaux makes tactility a material from which he extracts the veins and folds of time.

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Brigitte Kühlewind Brennenstuhl, Père, 2001. Technique mixte sur papier, 100×100 cm.

Brigitte Kühlewind Brennenstuhl

Born in Veckenstedt (former East Germany) in 1949.
She lives and works in the Pyrénées-Orientales.

She was trained in East Germany during the period of legitimisation of a “socialist nation” in a “socialist state”, first in industrial design and then in graphic art at the Berlin School of Applied Arts.
In parallel to her work as a graphic designer, she developed her own artistic research.
She left East Germany in 1986 after spending a year in the Hoheneck women’s prison, where she was imprisoned for attempting to escape to the West.
From 1987 she exhibits in Italy and Switzerland, then moves to France where she shows her work from 1992.

Brigitte Kühlewind Brennenstuhl’s work is deeply rooted in her biography. Each painting, each drawing, each installation is a dissection at work: Which body? Which father? Which environment? Which territory? Which mother? Which kind of sex ? Which subjectivity?
Between the examination of the psyche and the incessant circulation of childhood memories, Brigitte Kühlewind Brennenstuhl’s work is frontal, overwhelming and shares a singular nostalgia.

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Jérémy Louvencourt, Étude des pollens #1, 2020.
Jérémy Louvencourt, Étude des pollens #1, 2020.

Jérémy Louvencourt

Jérémy Louvencourt, born in 1989, lives and works in Paris. He graduated in 2011 with a Higher Diploma in Applied Arts (Toulouse Arena School). He takes part in 2011 in the Road Strip#4 exhibition, an exhibition in the public space, for the Pavillon Blanc de Colomiers. In 2013, he won the SKIN contest set up by Arjowiggins Creative Papers for the creation of a paper mask and the same year exhibited his first drawings at Chécy (45), “L’infini grand ou l’infini petit”. In 2017, he enters the French collection of the “Imago Mundi Art” project of the Benetton Foundation. In 2020, he was a finalist for the “Déclics Jeunes” grant from the Fondation de France, for an artistic trip to Mexico to discover the manufacture of Amate paper. Jérémy Louvencourt invites us to take a look from near or far. From far away, psychedelic forms that could be part of a decoration, a textile or a wallpaper. From close-up, micro-organisms that seem to move, constantly changing position. In the end, one has the feeling that one is witnessing the creation of a world, in the manner of Jens Harder at the beginning of “the wonderful Alpha”.

He explores the boundaries between science and mystical dimensions. Alchemy is a powerful resource in his work, as is the quasi-shamanic aspect of his work. It is therefore no coincidence that the viewer hesitates between microcosm and macrocosm when contemplating his work. The artist wishes to link two universes and make us touch the unknowable.
He is reconnecting with a visual anthropology by drawing on interpretations of the world.
that appeal to animism, shamanism or esotericism. His practice of drawing is linked to the social and cultural history of the southern territories (India, Mexico) which resist
to the aesthetic and cultural uniformity imposed by the colonising European projects. This relationship leads him, among other things, to the search for paper supports whose natural manufacture is part of ancestral practices through which peoples try to
to ensure the continuation of a common territorial culture.

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Muriel Persil, Au fond de l'eau, mural sculpture. Earthenware, engobe, matt cover, 2017. 40 x 40 cm.
Muriel Persil, Au fond de l’eau, mural sculpture. Earthenware, engobe, matt cover, 2017. 40 x 40 cm.

Muriel Persil

A multidisciplinary artist, born in Paris in 1966, Muriel Persil studied at the Beaux-arts workshops of the city of Paris as well as at the Académie de la Grande Chaumière and at the studio of the painter Sotomayor where she developed her taste for anatomy, the nude and portraiture.
As a scenic painter, trained and qualified at the CNACFAG, she has for many years exercised this professional activity in parallel with that of a painter, exhibiting regularly in France (Paris, Montpelier, Céret, Perpignan) and in Spain (Barcelona, Girona).

In 2013, having moved to the south of France, she decided to devote herself to sculpture through ceramics. Although she is an autodidact, she very quickly masters this art and medium and develops in space her universe in which strangeness and ambiguity reign in master.
Indeed, her sculpted or painted work is also imbued with the same sense of the hidden, of the elsewhere where symbolism occupies a large place. It is also in the imaginary, the fantastic and the myth that the artist nourishes her reflection on the links between Man and nature and on death.

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Édouard Trémeau, Zoolitude n°6, 31 janvier 1998-18 février 1999.
Édouard Trémeau, Zoolitude n°6, 31 janvier 1998-18 février 1999.

Édouard Trémeau

Born in Theillay in 1936, Édouard Trémeau has been working in the Lille region since 1963. He was trained at the School of Applied Arts from 1952 to 1956, then at the École Nationale Supérieure des Beaux-Arts de Paris in 1956-1957 and at the École Normale Supérieure de Cachan from 1957 to 1961.
Close to Narrative Figuration and the Salon de la Jeune Peinture at the end of the 1970s and the beginning of the 1980s – he was vice-president of the salon in 1983 – he took part in various collectives that denounced forms of political oppression and social and economic inequalities such as “imprisonment, the place of women, hunger, torture, ordinary fascism, racism” [Francis Parent, Raymond Perrot, 2016, p.184].

In 1981, during an exhibition at the Pierre Lescot Gallery in Paris, the painter claims to have left his studio to look outside. He then painted scenes inscribed in the daily life of the “early Mitterrand years”, which show man’s anxiety in the face of the society of control, in front of the silent violence that threatens the bodies in a way similar to Façades n°5 (Tout en bon ordre), July-August 1980, acquisition of the L.A.M. Musée d’Art Moderne, d’Art Contemporain et d’Art Brut – Lille Métropole in Villeneuve-d’Ascq in 1983.

Then the retreat to the workshop, nourished by the traces of many travels, succeeded to collective projects which resisted badly to the rise of economic and financial liberalism. His work is then divided into major themes – solitude, confinement, ruin, which open on series: hostages (1982-86), Berlin (1987-89), Zoolitude (1998-2002), Rome (1991-94), Rome outside the walls (1994-97), or many self-portraits that punctuate the years of creation until the series of Gisants “L’évidence” (The Evidence) made from 2006 to 2008.

The painter’s body undergoes a remarkable ” state of affairs “, a remarkable pretext for questioning once again its relationship to the history of art, and recalling ” Andrea Mantegna, Philippe de Champaigne, the two anatomy lessons of Rembrandt, Hans Holbein “.

Haunted by the violence of History, which he couples to the History of Art, Édouard Trémeau paints in confrontation with “biopolitical” time. However, each painting calls for a demanding pictorial technique that dialogues with masters. Considered by Édouard Trémeau as “a great whole”, his gesture makes each of his works a world in itself, even when they are elaborated from a photographic fragment which, according to the painter, brings back a corner of reality, like an exploratory beginning.

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Muriel Valat-B, Le plus profond c’est la peau n°1, 2019.13x29 cm.
Muriel Valat-B, Le plus profond c’est la peau n°1, 2019.13×29 cm.

Muriel Valat-B

Muriel Valat-B already added the mention “plastic arts” to her background when she was preparing for her literary baccalaureate in 1979. Although Khâgne led her to teach French in Austria, a course in art history followed in New York in 1985 heralded the resumption of her studies in visual arts, first at the ENSBA in Cergy-Pontoise and then at the University of Paris-Sorbonne. In 1992 she completed the capes of plastic arts at the University of Paris-Sorbonne, the last academic step before the Berlin rupture.
Muriel Valat-B then set up her studio in Berlin in 1994 in a former factory in Kreuzberg and focused on painting and engraving. She has regularly exhibitions of her work in Germany and has deepened her practice of intaglio engraving, silkscreen printing and lithography in the graphic workshops of the Bethanien Künstlerhaus in Berlin-Kreuzberg.
In 2006, after a diversion to Hamburg, Muriel Valat-b returned to France to Planèzes in the Fenouillèdes, where she continued her plastic research in a kind of retreat.
Since 2016, she has been collaborating in the design and running of workshops exploring the relationship between writing and the plastic arts with various structures and associations. In 2017, she will set up a second workshop in Perpignan and her work will be directed on textiles.

— A visual artist, but literature is still very present.
Some artists work “in music”; I work “in poetry”. My plastic work walks in the company of poetry. A word, a sentence, an unexpected association of words, an atmosphere, inspire a line, a stain, a texture, a new combination of colours, fragments of images, provoke a gesture, an action, encourage an assembly of materials, the discovery of a new tool.
Poetry offers me its audacity, invites me elsewhere and yet gathers me where I am, surprises me, moves me, awakens my perception, puts my mind on holiday, open to the surprises that invite themselves on the canvas, on the copper, on the wood.
In return, a spot of colour, a stroke of eau-forte, a sketch will set off in search of a word, a phrase. An encounter, a dialogue, which helps me to reveal what I don’t see. — Muriel Valat-B

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