"There is divinatory value, not just a warning, in Cassandra Wainhouse's work s: a
combination of images that give a world view, or rather a diagnosis of what the world has already become: the forbidden fruit of ambiguous and earthly ambition, the rare fruit of infinite curiosity and inability to coexist, to share responsibility, to equitably divide space and distribute resources. Humanity at risk of extinction, which is still in the process of being defined, can be evoked within voltage ranges, wrapped in an electrical fabric of unremitting vibrations and intermittent vibrations. It is a watermarked image written in an allusive code, ready to let itself be revealed only by a patient symbolic reading of the work, such as the color harmonies and sign cascades that lead to crossing the threshold of private dreams, in order to reflect collective symbols, deep archetypes that speak Universal languages.(...)"
« I have never imagined myself out of touch with painting. I have always felt the need to explore instinct and intuition to express myself. Today my work is about collective memory, humanity's footprint... In my work, the figures relay our inner states of being; undressed so as to touch an underlying dimension of the world, spirit and soul. Rooting out our violence, our delerium, our beliefs, in order to bring forth a form of truth »
I do not think that it is Nature that influences Kolé but rather it is Kolé’s audacity that instead influences Nature, according to her own states of mind. The surface of painting is prepared like Virgin soil, that one needs to make inviting in order to allow the artist to give herself completely, with the very first brush strokes. Then suddenly everything flourishes, one needs to tame this garden of four seasons, alternatively quiet and exhuberant. There even are some plants that only lack the power of speech and one can even see visitors walk in their form of souls. This can result in fireworks of abundance, which demontstrate the artist’s generosity, and provides us with beautiful lessons of sensitivity and grâce...
As an infant Claire loved the smell of the oil paints in her uncle’s workshop and studio in Paris, where he was a restorer of original art works. She always had paintings around her as her great grand-father Charles Audierne was a painter, he is listed in the Bénézit ( Dictionnary of french painter from the 19 century) as a «little master of the French School of Fontainebleau».
After her course at the university of Bordeaux for teaching arts, Claire created in 1995 an art studio for an association in Castillon-la-Bataille (Gironde) while teaching at schools (College-secondary schools).
She took part in a few exhibitions with other artists of the region, and on her own in chais and châteaux in the
Bordeaux région and galleries in Mont de Marsan, St Emilion, Bordeaux and Brussels.
From 2003 to 2017, Claire has been in charge of the Visual Identity Image and communication for a firm called RAL-DIAGNOSTICS (medical diagnostic) as well as teaching at the Amical’Artist for 17 years in Castillon and carried on with her own paintings.
In Spring 2017 she finished with her job for RAL to start a new studio in Pellegrue and dedicate herself to painting exclusively. At this moment she changed her artist name for Claire Scofield.
The structural parts of the drawing are monotypes with prints of black ingliato ink (for engraving works) (dark green for the serie of Jardins de Sardy). The print makes the drawing enriched with the efects of substances, more of less at random. 90 per cent of the work comes out on the...
Sosi works exclusively in black and white. All her works are hand printed on fiber based paper and processed archivally. Her latest series, “Après l’Ombre”, are photograms, an old photographic process which existed since the very beginnings of photography. Her work represents a yearning and return to the source: a dismissal of contemporary and digital photographic techniques of image creation and printing.
“Since I love darkroom work and silver printing, which I consider an inseparable part of my photographic creation, I have been going back to “alternative” or primitive processes with the nostalgia of finding the soul of photos of the past. The title of this exhibition “Après l’Ombre” refers to the “shadows” that contemporary photographic techniques have cast on the soul of silver print photography, and the way I have been trying to find the light and my way out of the universe of pixels.
In addition to photograms, my journey includes the use of photographic emulsion that is applied with a brush to various types of surfaces such as art paper and fabrics, instead of traditional fiber based photo paper. This technique renders a special image close to a lithograph or ink painting which is unique since no two can be exactly the same. I have also experimented with a handmade “camera obscura” in my negation of our fast moving society overflowing with zillions of images every day. My work is about taking one’s time and premeditation.”
Sosi Vartanesyan’s latest work, “Après l’Ombre “,...
Véronique was born on March 20, 1973 in Mulhouse, she lives and works in Saint-Ouen, France. After graduating at Les Beaux Arts in Mulhouse and Arts Déco in Strasbourg, Véronique devoted the beginning of her professional life to the creation of motifs for the textile industry. Then, very quickly, she knew that painting was the most important thing in her life. Her painting is at structured and anarchic, full of violence and contrasts - harmony as well - the brutality of the gesture, the valorization of the spontaneous. Véronique scratches, hollows, lacerates, to the scar, the indelible wound. "When we faced a canvas by Véronique Gros, we are submerged by the force of the plot. Large and one breath, it takes us into other spaces of calm spaces, transparency and fragiity. Beteen these worlds, the balance is. 'Through her white matter, where you come to register the successive grappings of ephemeral and great emotions, brushstrokes, Vénonique Gros invite us to go through her painting. Expressions of a sensitive and spontaneous universe where strength and fragility coexist.
Bernard Baud was born in the french Alps in 1964 and trained in ironwork and iron craftsmanship. It is while working for Drouot in Paris for twenty years that he comes to discover and fall in love with african art, pre colombian, russian icones, contemporary fine and applied Arts. A world unfolds ad he discovers his path.
In his painting a very colourful and ultra structured universe comes to life, where everything becomes possible: his imaginary figures or animals gaze at us, unjudgamental, free of prejudice, round and neutral, they just are, they play golf, go fishing, share a picnic, amidst a dance of planets, bees, ladybugs and his dog Lucky.
Lucky is his alter ego and part of Baud's artistic world, a mix of lightness and complexity.
Bernard Baud est né en 1964 dans les Alpes françaises, il est formé au métier de ferronnier d’art mais c’est en travaillant pendant plus de 20 ans à Drouot (Paris) qu’il découvre la diversité artistique, de l’art contemporain à l’art africain, du pré-colombien aux icones russes, des arts décoratifs aux arts appliqués (qu’il préfère), il comprend alors que tout est possible….
Dans l’univers coloré et ultra structuré de Bernard Baud tout est possible ; ses personnages imaginés nous regardent, neutres, ronds, sans jugements, sans préjugés, ils s’adonnent au golf, à la pêche ou déjeunent encore tranquillement entourés d’un repas frugal, dans un espace infini de planètes, d’abeilles, de...
Nathalie Vierny spent years working in films as a script continuity on movies such as
"La Haine" of Kassovitz, Claude Lelouch, Cédric Klapisch, Pierre Salvadori, Tonie Marshall, "Intouchables" of Toledano and Nakache, Peter Greenaway, "Le Bruit des glaçons" of Blier and Jacques Audiard from "sur mes lèvres" "De Battre mon coeur s'est arrêté "Un prophète "" De Rouille et d'os" to " Dheepan "(golden palm in Cannes).
The multiple collaborations with all these film directors, each with a different universe have fueled this desire to fix the image, to stop on, to "see" differently. With this particular charm of black and white photos dating from a time gone; the desire to resuscitate them, to reactualize them with the colors of Street Art. Bright colors, colors of today.
She was also influenced by her grandmother, Nathalie Sarraute who passed on her passion for literature and her grandfather who introduced her to painting. They have both been a huge chance for these doors open on the imaginary.
These are black and white photos which some of them are from the late 19th and 20th century. All these photos are left mostly intact. They are painted "in relief" with strong hues. Colors inspired by Street Art.
This "relief" gives them a poetry, a weightlessness, a shift.
it allows them to have another technique, another look.
A look always attached to a humor, a joke of the situation.
The colors emphasize, guide the eye towards a detail, a balance.
These painted pictures give them a new life
Nathalie Vierny a passé des...