Depuis le début des années 2010, le vocabulaire d’Amélie Bertrand se compose de motifs – presque de signalétiques – que chacun peut appréhender aisément, murs en briques, grillages, chaines, carrelages de piscine, issus des réponses affichées par l’internet, à des interrogations en forme de mots-clefs.

Elle les combine ensuite en « espaces crédibles » formant des paysages toujours étranges, devant lesquels une sensation de mirage suscite souvent le malaise, explorant les possibilités et les contradictions de ces images artificielles. Au centre de cet univers, les nymphéas deviennent des formes, ou peut-être à l’inverse, la forme géométrique devient nénuphar, un motif dont l’efficacité est prouvée, définitivement vérifiée, presque épuisée par l’immense série de Claude Monet et le décor immersif du musée de l’Orangerie.

Redessinée, normalisée, la feuille du nénuphar est au cœur d’une réflexion sur la peinture, la composition du tableau, et la recherche de solutions formelles permettant la création d’un espace visuel. « En commençant à les peindre, s’enthousiasme Amélie Bertrand, j’ai senti que c’était le truc le plus cool que j’avais réalisé depuis longtemps. C’était facile, j’étais libre parce que le nénuphar intervenait tout de suite sur la peinture. (..) Les zones colorées des nénuphars arrivaient et me permettaient de mettre en place facilement des superpositions, des transparences, des ombres. Juste des jeux formels de peinture ».

L’artiste, après une longue élaboration d’abord sur son ordinateur puis sous forme de pochoirs, peint scrupuleusement les motifs à l’huile suivant une technique en une seule couche formant des aplats impeccablement lisses ou des dégradés virtuoses.

Elle convoque des couleurs à la suavité sans limite pour des effets de lumière impossibles, au service d’un univers destiné à être observé plutôt que déchiffré.

En Collaboration avec la Galerie Semiose et le Musée de l’Orangerie

In the realm of human experience, the word “burnout” carries a weight that transcends mere vocabulary. It conjures images of candles snuffed out prematurely, fires extinguished, and the slow dimming of once-bright flames. But for those who find themselves caught in the grip of this phenomenon, the notion of a once-bright light turned dark—be it emotionally, physically, or mentally—is a hauntingly real experience.

As an artist, Evgen Čopi Gorišek has navigated the treacherous waters of burnout and anxiety, experiencing firsthand the toll they can take on creativity, well-being, and overall quality of life. Through his work, he delves into the depths of these afflictions, seeking to shed light on the shadowy corners of our minds where burnout and anxiety lurk. But what exactly is burnout? 

It’s not merely exhaustion; it’s a profound sense of depletion, where the fire within us burns low, if at all. It’s the result of prolonged stress, relentless expectations, and a relentless pace.

Evgen’s art captures this struggle, giving voice to the silent battles waged within the hearts and minds of those who grapple with these demons. Moreover, Evgen Čopi Gorišek understands the importance of talking openly about these problems.

The act of sharing, of opening up about our struggles, can be a beacon of hope for others navigating similar storms. It’s an acknowledgment that we’re not alone in our battles, that our vulnerabilities don’t define us, and that seeking help is not a sign of weakness but an act of immense courage. Evgen’s personal journey with burnout and anxiety infuses his art with a depth of authenticity that resonates with those who’ve faced these challenges. His work is a testament to the power of creativity as a means of healing and self-expression, as he continues to grapple with these issues himself.

In the face of burnout and anxiety, Evgen Čopi Gorišek’s art serves as a reminder that even in the darkest moments, there is the potential for renewal and rekindling. It’s a beacon of hope and a call to action, urging us all to acknowledge, share, and seek help when needed. Through his art, he invites us to explore the depths of our own experiences, ultimately emerging stronger, brighter, and more resilient.

In collaboration with Luxe.net & Stems Gallery

Julien Boudet’s works vascilliate in the field of photography, sculptures, and installations. He is creating a new vernacular that bridges the gap between Mediterranean visual cultures, referencing art history, hip hop, and sport, amongst other subjects, in his work.

Creating images with medium format film cameras, Boudet’s practice investigates overcrossing of consumerism, technology, culture, and media.

By highlighting and recontextualizing luxury brands, his pictures put the ballast of these labels as a sign of desire – not just by celebrating the liturgy of consuming—but assuming these elements naturally as part of our lives. The duality between real and fake, counterfeit and authentic, are recurring themes for the artist who began to create and incorporate materials in his work to highlight the paradox of bootleg as a result of hyper-consumerism.

The works approach the strain and displacements of our relations and coexistence with objects, ornaments, and collective cultural imagination. 

Julien Boudet attended Parsons School of Design, New York, NY in 2013. He has shown his work at multiple Burberry flagship stores and la Chapelle du Quartier Haut.

Julien has exhibited in solo exhibitions with Stems Gallery, Brussels, BE; Plan X, Milan, IT; Ground Effect, Paris, FR and Le mur du Marais, Paris, FR. Recent group exhibitions include Arsenal Contemporary Art, New York, NY; Stems Gallery, Brussels, BE & Paris, FR; Volery Gallery, Dubai, UAE; WOAW Gallery, Hong Kong, HK; Blum And Poe, Los Angeles, CA; Fashion Space Gallery, London, UK and MoMA, New York, NY.

Boudet is regularly published in avant-garde magazines, commissioned by prominent fashion houses, he brings the high concept to commercial photography highlighting cultural and creative leaders for publications such as Vogue, i-D, Playboy, Numero, Hypebeast, and Highsnobiety among others.

In collaboration with Luxe.net & Stems Gallery

Le travail de Marion Flament se construit autour des lieux, des matériaux et de la lumière les constituant pour se traduire à l’échelle de l’installation, de la sculpture et de l’image.

Elle cherche à produire des fictions présentant une réalité distendue en s’inspirant de changements soudains et infimes de la perception visuelle donnant au temps une qualité dramatique. Elle organise des points de conjonction en passant souvent par l’exposition d’un moment clef pour traduire un arrêt sur image. C’est un moyen de révéler l’étrangeté du temps transformé : zoomer dans le décor qui construit nos vies quotidiennes. C’est pour cela que Marion fait souvent appel aux trompes l’œil et aux faux- semblants, un lien aux fictions qu’elle a côtoyé au théâtre.

La lumière est le vecteur de cette distorsion, ayant la faculté particulière de révéler l’état de la matière. Marion s’en sert pour modeler les éléments ordinaires qui composent notre environnement.

Le travail in situ est aussi une des dimensions qu’elle met en place dans son travail, lui offrant la possibilité de chercher ces points de bascule. Ainsi, les lieux où elle expose inspirent directement les pièces produites.

En collaboration avec Romero Paprocki

Lucien Murat (né en 1986, vit et travaille à Paris) développe une œuvre singulière fondée sur le détournement de canevas et de tapisseries anciennes, qu’il assemble en patchworks avant d’y intervenir picturalement.

Formé aux Ateliers de Sèvres puis à Central Saint Martins, il s’empare de ces images décoratives et bucoliques pour y injecter une iconographie contemporaine, violente et chaotique, inspirée des jeux vidéo, de la culture pop, de la mythologie moderne et des peurs collectives. En superposant monde ancien et anxiétés numériques, Murat crée des paysages saturés où surgissent monstres, virus, armes ou motifs pixelisés, transformant le kitsch rassurant en visions dystopiques.

Lauréat du Prix Arte/Beaux-Arts Magazine en 2015, il expose régulièrement en France et à l’international — notamment chez Suzanne Tarasieve (Paris) et Plan X Gallery (Milan) — affirmant une pratique hybride, entre peinture, textile et culture visuelle post-internet.

En collaboration avec Luxe.net

Layering pastel and spray paint on canvas, Lou Ros pushes the tradition of landscape painting into the realm of abstraction, creating striated forms and diffuse washes of color that evoke the expressionistic impulses of Color Field painting. 

While providing a faintly discernible image of a landscape, his painting also remains open to the viewers' imaginations, allowing them to resolve its brushstrokes and visual rhythms on their own terms.

In collaboration with Luxe.net and Romero Paprocki

The histories of science have always fascinated Léo Caillard. From archaeology to anthropology, the artist is captivated by human evolution and the passage of time. Mindful of humanity’s fleeting presence on Earth, Caillard explores the impact of history on our contemporary moment. As he states, he “looks at history to reimagine our current society.”

After studying Digital Photography at Les Gobelins in Paris, Caillard created his breakthrough photographic series Hipsters in Stone in 2013. Inspired by the style of New Yorkers, he digitally re-dressed neoclassical sculptures from the Louvre’s collection, creating a fusion between ancient myths and contemporary culture. The humorous juxtaposition quickly went viral on social media, launching his international career.

Trained in marble carving, Caillard has been creating sculptures since 2012 that are renowned for their exceptional detail and technical mastery. As he observes, “if photography is sculpting with light, why not actually sculpt images?” Using cutting-edge technology, Caillard hybridizes the ancient with the modern. Engaging with internet culture, he creates “glitchy sculptures” where a digital wave appears to ripple through renowned classical figures such as Venus and Apollo. This produces a visual dissonance that invites viewers to contemplate both the materials and techniques employed. Caillard’s sculptures serve as commentary on our digital world, navigating the space between reality and virtuality. Working with both blockchain technology and marble, he ensures his work exists across both ephemeral and enduring mediums.

Since 2024, Caillard has expanded his practice to include monumental large-scale sculptures designed for public art installations. These ambitious works bring his signature fusion of classical and contemporary aesthetics to urban spaces, allowing his explorations of time, technology, and cultural memory to engage with broader audiences in the public realm.

Caillard’s work has been featured in numerous major institutions globally, including the Louvre Museum in Paris, the Museum of Fine Arts in Boston, the Fondation Cartier in Paris, the Los Angeles County Museum of Art (LACMA), and the Museum of Contemporary Art Tokyo. His pieces have been exhibited alongside works by esteemed artists such as Yves Klein, Damien Hirst, and Marc Quinn. Spanning marble and screens, Caillard’s practice creates a dialogue between past and present, offering us a glimpse into the future.

In collaboration with Strouk Gallery