Booth N°8 Corridor B

Galerie Jean Louis RAMAND

[EN] Noorforart Contemporary was founded by Jean Louis Ramand in 2012 in Aix en Provence. Discovery and Promotion being in its DNA, the structure becomes a gallery in 2014. It is interested in the young contemporary creation but also to already established artists from geographical horizons, cultural and aesthetic variety. The gallery is already showing dynamism and commitment to its artists according to guidelines that are mainly, drawing, works on paper and contemporary photography.
The gallery also seeks to support its artists in the production of particular works in a vision of curatorial activity around projects of personal presentations and exciting confrontations. Aiming at dynamic support of contemporary creation and promotion of artists the gallery has adopted a form of mobility and flexibility using current means of communication favoring a presence at events such as Art Fairs and temporary exhibitions in France and abroad.

ART Fairs : Fotofever Paris 11/2015 - DDessin Paris drawing fair 03/2016 - MIA Photo fair 04/2016 Milano – Art Photo BCN 05/2016 (Barcelona) - Docks Photo Art Fair Lyon 09/2016 – Fotofever Paris 11/2016 – ST-ART 11/2016 (Strasbourg) – London Art Fair 01/2017.

[FR] Noorforart Contemporary a été fondée en 2012 par Jean Louis Ramand à Aix en Provence. Découverte et Promotion des artistes étant au coeur de son ADN, la structure devient une galerie en 2014 et s'intéresse à la jeune création contemporaine mais aussi à des artistes déjà établis issus d’horizons géographiques, culturels et...
<i>About the Gallery</i><span>Read</span>
Drawing from an archive of collected material, Suzanne Moxhay creates intricate and complex photomontages.
Her method was derived in part from the early filmmaking technique of matte painting, where backdrops were painted on sheets of glass and integrated by the camera with the live-action on set.
She builds up the image in her studio using cut-out fragments of source material, which she makes into small stage sets on glass panels. She then re-photographs the sets and manipulates the images digitally, an act of reprocessing which takes them further away from their original context and broadens the narrative potential.
Her source material is drawn from an archive of collected imagery, which includes her own photographs of abandoned buildings as well as material collected from old books and magazines and fragments of paintings.
She works intuitively with the material, finding points of connection between details, either through shared subject matter or formal considerations such as following the path of light from one image through another to create spaces, which at first may appear real but on closer inspection begin to dissolve. She plays with anomalies – of texture, surface, depth, space, scale, movement and architecture – to involve the viewer in the construction of the image, and to make them question it. In the finished work there is often an uneasy sense of a space that does not quite fit together - either formally or conceptually, but possesses a reality of its own. One which we are unable to pinpoint as factual or fictitious.
<i>Suzanne MOXHAY</i><span>Read</span>