https://www.attaly.fr/interview daily 0.75 2025-11-27 https://www.attaly.fr/interview/assoukrou-ak-sculpter-la-mmoire-rvler-linvisible monthly 0.5 2026-03-21 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d9c7701e-b74a-4073-be6c-7118c8f05d10/2217D3D0-656A-4B65-8BBD-FCE79A486EF0.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible - Peux-tu me raconter d’où vient ton premier rapport à l’image et au geste artistique ? Mon premier rapport à l’image remonte à l’enfance (6 ans). J’étais fasciné par les encyclopédies médicales que je feuilletais en cachette, surtout celles consacrées à l’acupuncture. Les corps y étaient représentés avec une rigueur presque ascétique : des lignes fines, épurées, presque silencieuses. Ces dessins m’ont appris très tôt que le corps pouvait être lu comme une carte, et que le geste, même minuscule, avait un pouvoir narratif immense. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/fb1bb442-b43d-4d6a-8caa-dd7c0c09a76a/IMG_9542.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible - Comment décrirais-tu ton vocabulaire visuel à quelqu’un qui découvrirait ton travail pour la première fois ? Mon vocabulaire visuel repose sur la stratification. Je travaille comme on révèle des couches : du bois, de la mémoire, des fragments d’histoire. Les surfaces que je creuse deviennent des peaux traversées, où apparaissent des silhouettes, des poussières de gestes, des éclats d’identité. Visuellement, c’est un mélange de rigueur presque chirurgicale et d’une forme de douceur spirituelle. On y voit autant l’empreinte que l’effacement. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/99d0aac0-8095-467a-a3bd-ad13da6229bf/910A3406.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible - Quels matériaux, gestes ou techniques sont au centre de ta pratique aujourd’hui ? Pourquoi ceux-là ? Le bois est central. Il contient une histoire avant même que j’y touche. À cela s’ajoutent les gestes inspirés de la médecine : le point d’acupuncture, le tracé anatomique, le contre-geste qui corrige ou répare. Ces techniques me permettent de travailler le bois comme un corps : le soigner, le traverser, en révéler les couleurs internes. J’aime cette tension entre violence et délicatesse, entre incision et guérison. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/837dab1a-818c-4feb-8c20-51a8ad90f5c6/IMG_4572.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible - Tes œuvres possèdent une charge émotionnelle très forte — que cherches-tu à faire ressentir au spectateur ? J’essaie de faire ressentir la fragilité de la beauté cette sensation que tout peut disparaître et pourtant tout persiste. Je veux que le spectateur traverse une émotion qui n’est ni écrasante ni illustrative, mais subtile, presque vibratoire. Je cherche à lui retourner un miroir sensible où il perçoit sa propre vulnérabilité, et la possibilité d’une guérison. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/270d21a6-d9a6-4815-9b88-1a5c3ef08c45/IMG_2447.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible - Tes personnages semblent parfois flotter entre présence et absence. Que racontent-ils de notre époque ? Mes personnages sont des “contre-images” : ils se situent dans les interstices, dans ces zones où l’on ne sait plus si l’on regarde une apparition ou une disparition. Ils incarnent des états de transition, des formes qui glissent entre ce qui est montré et ce qui est retenu, entre la trace et l’effacement. À travers eux, je raconte une époque où les identités se fragmentent, où l’on vit constamment en décalage entre la projection numérique de soi et la réalité, entre l’histoire héritée et celle qu’on tente d’inventer. Ce flottement n’est pas une faiblesse : c’est un espace de résistance, un endroit où l’image cesse d’être une évidence pour devenir un questionnement. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/473d5e46-f3e7-44f0-84ac-ade0da40ba2f/84EF1F06-B4CC-4351-BE83-C3A42C1A9153.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible - As-tu des références littéraires, musicales ou spirituelles qui nourrissent directement ton univers ? Oui, énormément. Les écrits de Paul Celan pour leur pouvoir d’incision, chaque mot est une cicatrice qui parle. Les textes de Frantz Fanon, qui m’accompagnent pour comprendre les fractures identitaires et les zones silencieuses de l’histoire. Et la culture Akan, qui constitue une base spirituelle essentielle : le rapport au sacré, aux ancêtres, au geste rituel et à la symbolique du corps y est fondateur. Ces trois dimensions : poétique, politique, et spirituelle se rencontrent dans mon travail. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/145fc3db-127d-4953-a406-0db0b289e8b5/IMG_1468.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible - Quel serait pour toi le projet idéal, celui que tu n’as pas encore pu réaliser ? Ce serait un projet immersif à très grande échelle : une installation où le public entrerait littéralement dans une “peau” de bois, une sorte de cathédrale organique. Un espace où la lumière, le son et les gestes sculptés dans la matière raconteraient un récit collectif. Une œuvre où l’on peut marcher, toucher, respirer une expérience totale. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/be35d11b-f6f5-46c1-b50d-ba51b294b89b/IMG_6934.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible - Où aimerais-tu voir ton œuvre dans dix ans : une institution, une collection, un pays particulier ? Dans dix ans, j’aimerais simplement que mon travail trouve sa place là où il peut vraiment résonner. Peut-être dans une grande institution comme le Centre Pompidou ou le MoMA, si le chemin m’y mène naturellement. Et si un jour je pouvais être finaliste, peut-être même lauréat du Prix Marcel Duchamp, ce serait un honneur, d’autant plus que ma tutrice Kapwani Kiwanga a ouvert cette voie en 2020. Mais au-delà des institutions, je souhaite que mes œuvres circulent, qu’elles ne restent pas prisonnières d’un lieu ou d’un pays. Ce qui compte pour moi, c’est qu’elles puissent toucher, transformer, accompagner, qu’elles aient un impact sur l’histoire de l’art, où qu’elles se trouvent. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240090214-FCM6USJ74VZBG7K45GVS/2217D3D0-656A-4B65-8BBD-FCE79A486EF0.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240107291-BA9B7C3L5AHY2NEMST56/IMG_1468.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240096356-DAUIVTQRZVAHZOFNC88H/IMG_1580.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240130112-YY6D29XLW04CCYX2F74T/84EF1F06-B4CC-4351-BE83-C3A42C1A9153.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240100645-7A79YLIP6CVD4PQKBOD7/IMG_5389.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240139059-G0T7E8U2CAVTNQMBC9GH/910A3406.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240113074-6125GNBX9IUGW830JRBP/IMG_6934.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240136540-UZQ3ORZR8JYT4QCYLZSC/IMG_2447.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240138409-ZKU34LSCDC6ATHR8XWFA/A7DDCF4E-C060-4F29-907B-EA1CF3862D28.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240142724-UBR5KIEMGG8DQXQGLRJV/IMG_4572.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240141442-AT5U6HPB4D0RP7EPXSB4/IMG_9539.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1764240143340-QELXABN16U8M52ZW73GA/IMG_9542.jpeg Interview - Assoukrou Aké : sculpter la mémoire, révéler l’invisible https://www.attaly.fr/interview/between-neon-and-the-sacred-inside-the-world-of-cindy-bernhard monthly 0.5 2025-11-27 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d2277c03-4c85-4685-9216-7730d27353fe/FINAL_interview.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard - Your work often navigates between hyper-realism and dream logic. When did this fascination with the surreal and cinematic first emerge? I have always been drawn towards paintings that felt other worldly. I went to a very academic school for undergrad, which was great to develop skills, but I never wanted my work to look photorealistic like lots of my friends in class. I always figured what's the point in that? I want to make paintings that take viewers to another realm. I remember in class everyone was using earth tones and trying to get the colors to look just like the still life, but my palette was all neons. A professor of mine at the time (now a dear friend) would walk by and say how offensive the colors were to his sensibilities. But, I loved those neons. I remember the first time I saw a Lisa Yuskavage painting, and it rocked my world. Her dreamlike use of color, and strangely proportioned figures were familiar, yet hard to place. I love paintings that look like they could be of the world we live in, yet there's something otherworldly taking place. The more I think about it, maybe it's a meshing of the world we live in mixed with the spiritual realm, the realm we can't see with our eyes, but a realm that we feel. I want my work to open doors to other worlds, including my own. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/44bf7e8a-d5ad-4280-9c33-465f5c01277b/Living+Water_oil+on+canvas_60x48_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard - Cats, reflections, and theatrical light have become almost signatures of your visual language. How did these recurring motifs evolve over time? It took me many years to put the symbols I use in my work together. If I am painting an object I have to have a relationship with it that goes beyond the formal. The object has to mean something to me, in addition to being formally pleasing. So the cat, reflections, gold mirrors, and candles all took time to develop and they are still developing till this day. Slowly new objects trickle in, and slowly objects fade away. Often they fade away and come back in a new way. The best motifs are ones that can be easily manipulated, like smoke, and more recently water. They are symbolic, but also I can play with its shape due to its malleability. Something that is personal, formal, and can be easily manipulated is "my sweet spot". It takes a long time to develop a visual language as a painter. At least it took a while for me, but probably to outsiders it felt quick. I tend to be impatient, something I need to work on. I often say all my patience is used up in the studio struggling to make a painting work, and the rest of my life I feel like I am in a race. Unless I am with kids, I have lots of patience for children. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/5033ce61-fdda-4af9-93a9-dc8f06c8b4d9/When+the+Eternal+Breaks+Through_oil+on+canvas_72x60_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard - There’s a devotional, almost icon-like quality in many of your compositions — glowing halos, central figures, deep space. Do spirituality or mythology influence you directly? The more and more time I spend in the studio the more I am becoming aware of just how much the spiritual realm influences my work. More recently I have been meditating on the word 'transcendence' in the studio. I am extremely interested in spiritual ecstasy and reading about the lives of mystics. My last exhibition was deeply influenced by St. John of the Cross and his poem, "The Dark Night of the Soul". Most of my time in the studio is spent learning about mystics through lectures and audiobooks. There's nothing more exciting to me than the belief that that life is not it. It's just the beginning, the beginning to something far greater. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/0d5f8a2a-7205-48e6-b7c9-9d0ffd41dac6/After+The+Ecstasy+of+St.+Teresa_oil+on+canvas_55x48_+2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard - The emotional core of your paintings often lies in isolation and wonder. Do you see painting as a personal ritual, or more as a conversation with viewers? I was talking with a great artist at dinner in NY recently about painting being an act of worship, a prayer or meditation of sorts. I think painting is all of these things and so much more. I think painting has to have a conversation with the artist and the viewer. I dont think it's hard to have a conservation with viewers when painting, just the act of bringing a piece of work into the world that you cared enough to spend time on will connect with viewers. And just the fact that we are living in the world at the same time as other people and experiencing similar things creates a conversation with viewers. I always say that I want my work to be enjoyed by everyone...art historians and preschool children. I want my work to have a conversation with everyone. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/ad41c329-c3a9-407b-a067-c5f16e033d4c/The+Serpent_oil+on+canvas_20x16+_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard - “When the Eternal Breaks Through” feels both cosmic and intimate — water, mirrors, and light seem to connect heaven and home. What initial idea or emotion sparked this series? It really stems from the idea of spiritual ecstasy, the altered state of consciousness where you feel a sense of union with the divine with reduced external awareness. In the studio I like to be learning, and I have been learning about catholic mystics recently. Oftentimes they were artists, painters, poets, musicians. They were deeply connected to the spiritual realm and often experienced visions. I believe all artists are connected to the spiritual realm a bit more than the average person, I think they do feel things more deeply and see things in a bit of a different way then other people. A blessing and a curse. So, the show stems from the idea of spiritual ecstasy. There's a lecture I listened to maybe 50 times over the last year, and it's called, "When the Eternal Breaks Through" by a Bishop named Robert Barron. His lectures are deeply rooted in philosophy and theology, and he knows much about the mystics. In this specific lecture he talks about moments when our ordinary reality become transparent to something transcendent and divine. He uses the transfiguration story from Luke's gospel as a central example. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/104c22f7-dc74-4cc9-9c70-e3ab4e50fa2d/Satisfied+Thirst_oil+on+canvas_48x36_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard - This show seems to expand your universe technically and symbolically. How do these new paintings push your practice beyond your previous series? Every painting I hope for this, that is, a push in my practice technically and symbolically. These works are a bit different then my previous works, but there are still moments that recall the previous series like cat tails, candles, sheer curtains, cosmos, gold vases, etc. All of my work up until this series has been a search for meaning. Full disclosure, I spent 18 years as an atheist, really struggling to believe anything outside of this world exists. Today, I feel the spiritual realm is more real than the physical objects I see and touch in day to day life. Because of this, I feel like the possibilities in my work are endless, an entire new word has opened up to me, rushing over me like a great wave. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1763132359127-QZVCNU2K5A3NBJ536HYE/FINAL_interview.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1763132170158-X3LBZH447YANJVA0SVR6/After+The+Ecstasy+of+St.+Teresa_oil+on+canvas_55x48_+2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1763132170526-6FA6M194F6JIS8N6F0LN/Holy+High+Tide_oil+on+canvas_72x60_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1763132184294-PA5K07MQXONF3TK76S5I/Living+Water_oil+on+canvas_60x48_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1763132186710-083YDB2N35X86RCD85Y4/Satisfied+Thirst_oil+on+canvas_48x36_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1763132199348-WEFZOS4WMNNLLI7X02AO/The+Serpent_oil+on+canvas_20x16+_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1763132203373-1VNAM1I693TWXSLXYHWR/When+the+Eternal+Breaks+Through_oil+on+canvas_72x60_2025.jpg Interview - Between Neon and the Sacred: Inside the World of Cindy Bernhard https://www.attaly.fr/interview/unveiling-the-human-psyche-interview-with-coady-brown monthly 0.5 2025-11-14 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4ae845e8-f7a8-41d9-aae7-a1792bb72256/portrait_2025.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - You were born in Baltimore and raised in Cincinnati, how did this contrast shape your initial relationship with art and self-expression? As cities, from my perspective, the two places couldn't be more different. I think things have changed a lot, but in the early 2000’s, Cincinnati was a very small-minded, segregated, and insular place. The gift that it gave me was knowing that if I wanted to be around the type of people that would enrich me artistically, I needed to work hard to go and do something with my life. I had a small group of friends who felt the same way- one even left high school and started college at 16. The underlying sentiment was always: get the hell out of here. Which really adds fuel to your fire when you are a teenager. It made me hungry. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3b6fc61a-c99e-4c52-96a2-4099b95ae24c/Fair_Play_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - You studied at Tyler School of Art (BFA) and Yale (MFA). How did each institution influence your artistic development? Tyler was where you were really thrown into the deep end as an artist. You weren’t necessarily “taught” things in a demonstrative way: “Mix this color with that color, this color with that”. My first painting teacher was the legendary Dona Nelson, who on the first day of painting class had us take all of our supplies and giant canvases and start plein air painting on the windy campus sidewalk. It was very…..”art happens as you are making it”, not “art happens because you understand a tertiary palette”. It got you out of your head and into your body. Yale functioned similarly in that the emphasis was on quantity instead of quality. They didn't want you getting stuck on a singular project that was maybe limiting and could turn out to be a flop. I’ll never forget a studio visit with Bryon Kim, who said: “You’re not going to like what I have to say, so I am going to leave immediately after, but I think you should make abstract paintings and videos”. And then he slowly backed out of the room. And did I go on to make those? No! But the idea was always to get yourself to try something so new, so out of your comfort zone, that you could circle back around to yourself. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/2a7402d4-cf3c-49c1-b25a-d03f76fd311b/Suitor_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - How do fashion, film, and everyday observations inform the emotional and narrative quality of your paintings? Ideas for paintings come from everywhere: color combinations, a cut of fabric, a film still, a photo I took. A coffee mug sitting at the edge of the table, the way light cuts across the yard at dusk. Very nerdy painter stuff. My source material comes mostly from print sources: I need something tangible to look at. I have an extensive library that I am always adding to: magazines, books, catalogs. And then from that initial spark of an idea, it becomes about the emotional undertone of the painting. Is this about loneliness, insecurity, fear, or vulnerability? The greatest gift I have given myself as an artist is the permission that any idea can turn into a painting. I think a lot of what plagued me when I was younger was a concern that my ideas were not serious or academic enough. But anything can be the impetus for a great painting. You never know what is going to work, so if you edit yourself too quickly from the beginning, you are losing an important aspect of the process. And then if in the end the painting is bad, just get rid of it. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/773cc65e-11f7-4985-8556-51912583d50a/Visions_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - Your practice hinges on drawing as a starting point, often exploring pose, pattern, and composition in intimate frames. Can you walk us through that process? I love that with drawing, and painting too, you are already starting out with a set of limitations, which is the size of the paper or canvas. So you have a framework you have to work in, a set of boundaries that can only be pushed so far. That's why I love figuring out compositions. How many inches something is from the edge, what angle things converge from, everything contributes to the impact of the image. I know I am ready to paint when the drawing has a feeling of solidity, that it is just right and I wouldn't tweak a thing. Drawing is critical, a way to flesh out different ideas, and different iterations of the same idea. Don’t fall in love with the first version, there might be a better way. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/7e697416-4950-40da-8422-4f4b6ec1fc61/Poison_Heart_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - Fashion is central in your work, how do you see clothing functioning as both a site of celebration and vulnerability? I really have no interest in the classical nude figure, I am much more interested in clothing as a reflection of contemporary society. Clothing is a form of cosplay, or as RuPaul says: “We’re all born naked and the rest is drag”. More so than clothing even, I am interested in what different shapes do to the body. Do they hide it, expand it, compress it? Make it feel more powerful, more vulnerable, more exposed, more armored? The idea that a suit makes someone powerful, and a mini skirt makes someone more vulnerable, is a complicated dynamic. How men operate in the world versus women.The authoritarianism of one body over another. These ideas are constant streaming thoughts. How we chose to perform ourselves. Lately I am particularly inspired by men’s fashion in the 80s, which is actually quite feminine. Very soft, preened, pleated, manicured, aware of the body, not afraid to play with proportion and exaggeration. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/7a39f0d4-6fdc-4902-93b3-91fd3b6dee36/Trick_Mirror_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - In the solo exhibition My Eyes Burned Bright, you explored the “gaze”, both observing and being observed. What draws you to this dynamic? To me, it is the central dynamic of the painting and the viewer. As the maker, I am always aware of how the viewer is going to digest the image. What are they going to be drawn to first, what visual cues are they going to interpret and derive meaning from. Equally as important to this, is my understanding as a woman in society, your relationship to being perceived is ever-present. To be looked at, evaluated, and assessed continuously. I am always thinking back to the role of the female model in art history. Always something to be visually digested, with little to no resistance or autonomy. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/b1764cc6-c049-4f63-8dcc-85bc5a9e99c6/In_Pursuit_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - In curating To Move a Mountain at FAWC, you included a “Bouquet” painting that moved away from figurative narrative. What inspired that abstraction? To me, they are about making something real feel abstract, versus in most of my work I am trying to make something abstract or fleeting feel real, to concretize a feeling or mood. So to make something from observation, a still life painting, feels like accessing a different part of my brain. It is a welcomed relief. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/669b9190-7f4a-43e4-994d-df23b899e653/Rabid+Heart_Coady+Brown_Shulamit+Nazarian_install_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - You’ve mentioned working on larger paintings as intentional gestures. How do scale and intimacy coexist in your exhibitions? That is something that I dealt with a lot in my most recent show. I wanted the work to be intentionally scaled down- I like it when the viewer has to get close to the image. I was playing with some pseudo trompe l'oeil effects, and trompe l'oeil paintings are traditionally small. A figure’s reflection in a mirror, a figure standing in a doorway, I wanted the pressures of those spaces to be felt. The small scale helped with the sense of compression and density. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/6b3d30e5-1847-40ce-903d-c0d1f4120ba8/Night_Bloom_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown - You’ve lived in several cities and studios over the years. How has this mobility influenced your creative rhythm and sense of stability? Mobility was really important to me for a long time, but after eight years of constant upheaval, I was really craving stability. I wanted to work in the same place for an extended period of time. The thing that once served as fuel to my practice actually started to become a hindrance. Moving to Philadelphia in 2020 and having the same studio for 5 years was exactly what I needed, to be able to work on something, not quite have it figured out, and then be able to abandon it for a while without thinking “OK I am leaving soon, what am I going to do with this?”. This past year my boyfriend and I bought a house in the country that has a studio building on the property, and I can’t tell you how excited I am to have a forever studio. I even have plants in there. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937857795-MZY4TSMU2NHB0NNLKK7Y/portrait_2025.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937851253-99XZTTWEGABV7IU20BP6/Bouquet%2314_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937851630-0DZR51S5865PFT7FGBJG/Fair_Play_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937854068-6RW7HAVX7P5CXK3MUBGD/In_Pursuit_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937854384-N9Q8RP92IX4ER0R304UB/Kaledioscope_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937855748-Z6SBVP46NUSBKDTR7MTT/Night_Bloom_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937856110-95KGT52B2GQTT8EPYQ8D/Poison_Heart_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937858156-S4TEG7N886C8SXGVMK4D/Rabid+Heart_Coady+Brown_Shulamit+Nazarian_install_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937859696-LB11DHWO4HGP46MRM5OR/Rain_Check_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937859944-VAXJ3H9IF9IIZ84Z9PA8/Suitor_Coady+Brown_Nazarian+Curcio_install_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937861994-PZE24YYBZEM6KSUYIEYE/Suitor_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937864239-UIEZGHSTAIML14GHAG23/Super_Star_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937864176-QQ6IDRV1OKEB2Y4RC2EH/Trick_Mirror_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937866699-DJROUILSAQUBXD8LOFCM/True+Believer_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1759937868160-A40TFV6ZH0A5MPLK1IZY/Visions_web.jpg Interview - Unveiling the Human Psyche: Interview with Coady Brown https://www.attaly.fr/interview/shuling-guo-painting-transformation-motherhood-and-migration monthly 0.5 2025-10-08 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1b88263f-5431-4786-a317-ca5d80258c73/Photo+credit_+Carina+Romano.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. - Reflecting on motherhood and body transformation, you spoke of themes like splitting, stitching, and renewal. How have these experiences changed your artistic vision and the forms you explore? I was recently pregnant and had a natural birth, and although it is one of the most common experiences in human history, I was astonished by its visceral power. I felt like an observer as the ancient force of nature took over my body and spirit, in the cycle of creation. It pushed me to my limits and changed me physically and spiritually. This experience has led me to explore forms that speak to birth, transformation, death, femininity, and spirituality. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/bbe23c22-a338-4a27-bedb-5da253791f51/48%E2%80%9Dx12%E2%80%9Dx+2%2C+Color+pencil+on+paper+mounted+on+board%2C+courtesy+of+Mindy+Solomon+Gallery+and+the+artist%2C+2024.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. - Your life aboard the Sailing Vessel Selkie is both poetic and nomadic. How does the act of sailing, being suspended between land and sea, affect how you conceive and create art? I felt very connected to nature living aboard. You can’t help but be very aware of the sky, the sea, the weather, and feel subordinate to nature’s power. Color and gradient have always been part of my work, and it was an environment where I had a heightened awareness of the endless palettes and forms of nature. Many moments of stillness and tranquility found their way into my work at that time, and perhaps continue to have their effect. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/251d2523-351f-4b1d-9c00-2c69272cab7e/The+First+Day+of+The+Lunar+Month-1%2C+14_x11_%2C+Oil+paining+and+color+pencil+on+linen+mounted+on+board%2C+2025%2C+courtesy+of+the+artist.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. - From Chaoshan temple murals to Emily Dickinson’s herbarium, your influences are beautifully diverse. How do you weave together these spiritual, botanical, and cultural threads in your practice? The Chaoshan temples and mysticism of that culture deeply affected my young mind and imagination. They were the starting point for my understanding of the power of art. To this day, all of my work contains some of the spirit of that formative perspective. I continually work to develop my language of color and form, and try to connect the themes I am exploring by letting them flow through the lens through which I see the world. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/929a7fb0-cb3c-494d-a06f-6e79ada2fdf7/The+First+Day+of+The+Lunar+Month-2%2C+14_x11_%2C+Oil+paining+and+color+pencil+on+linen+mounted+on+board%2C+2025%2C+courtesy+of+the+artist.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. - Looking forward, are there specific materials, environments, or themes you’re eager to explore in your next chapters, whether on land or sea? I’m continuing to explore themes of the female experience. As much as I loved the beauty and mysteriousness in my childhood culture, there was also misogyny and limited opportunities for feminine expression. My physical and cultural distance from my origins, and my recent experience of motherhood, are driving me to focus on this area. I’ve recently been using linen mounted on board with oil painting and oil pencil. I’m planning to work on a larger scale and show this at my solo show at Hollis Taggart Gallery in New York next year. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1757319644103-2I6LKKWVRQ6Q1EC0IN7R/Photo+credit_+Carina+Romano.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1757319642000-00TSLGAPF6N92M2PNVH6/_Sanguinaria+Canadensis-+Female+Warriors%2C+24%E2%80%9Dx36%E2%80%9D%2C+2024%2C+courtesy+of+Mindy+Solomon+Gallery+and+the+artist.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1757319651067-ASY9WH48TU74X80G2VKR/48%E2%80%9Dx12%E2%80%9Dx+2%2C+Color+pencil+on+paper+mounted+on+board%2C+courtesy+of+Mindy+Solomon+Gallery+and+the+artist%2C+2024.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1757319658484-3LXRC4ORQUUXVLDPWZW4/Spirit%2C+11_x14_%2C+color+pencil+on+linen+mounted+on+board%2C+2025%2C+courtesy+of+the+artist.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1757319666218-4590L51VLWSSXIUMWALT/The+First+Day+of+The+Lunar+Month-1%2C+14_x11_%2C+Oil+paining+and+color+pencil+on+linen+mounted+on+board%2C+2025%2C+courtesy+of+the+artist.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1757319672672-KUB2WZZDTSR7U46F4SCU/The+First+Day+of+The+Lunar+Month-2%2C+14_x11_%2C+Oil+paining+and+color+pencil+on+linen+mounted+on+board%2C+2025%2C+courtesy+of+the+artist.jpg Interview - Shuling Guo: Painting Transformation, Motherhood, and Migration. https://www.attaly.fr/interview/the-tremor-of-a-hand-cathrin-hoffmann-on-texture-identity-and-survival monthly 0.5 2025-09-08 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/f0b5a847-4730-40e7-8926-2e559d567b5c/CathrinHoffmann_Attaly_1.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival - Your work often reimagines the human body through a post-digital lens, teasing apart what it means to be flesh in an age of code. Where did this fascination begin for you, and how has it evolved as digital culture accelerates? For me, the body is like the ultimate test of reality. It’s what pulls us back into the real analog world. In an age that’s increasingly filtered through the digital, I’m struck by the tremor of a hand, the quickening of breath, a racing heartbeat. My figures embody both fragility and an inner strength, I’d say. I paint skin, wounds, shadows, because that’s where the human burns brightest. The faster the digital world moves, the more I’m drawn to the raw, tactile feel of texture on canvas. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/29b19191-b192-4ed6-9863-cf801a0ed14a/CathrinHoffmann_Attaly_5.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival - In several recent sculptures and 3D renders, bodies appear stretched, spliced or hollowed out, yet strangely resilient. What role does vulnerability play in the formal decisions you make? I believe that vulnerability is at the core of being human. We’re not only vulnerable, but also capable of wounding others. Recognizing this opens the possibility of truly seeing one another and creating connection. In truth, we always move between autonomy and vulnerability. They shape each other. Vulnerability means openness, to trust, to resonance with others, to being touched by the world, for better or worse. It’s never private, it’s always shared. It’s tied to power, to dignity, to the very idea of trust: to trust is to accept being vulnerable. Vulnerability isn’t a flaw in human life. It’s the very source of living together, I think. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/f13acf27-7237-40e9-a337-291c0c8ebe8f/CathrinHoffmann_Attaly_3.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival - Philosophy—particularly existentialist thought—seems to hover around your imagery. Which writers or thinkers are quietly sitting on your shoulder while you work? I’d say Hannah Arendt is a thinker who’s been on my mind a lot. Even though she didn’t really see herself as a philosopher, her ideas about politics, responsibility, and human behavior resonate deeply with me. I’m also drawn to Erich Fromm, particularly his thoughts on human nature and our capacity for connection. And more personally, I find Adelheid Duvanel’s writing really compelling. There’s a fragility and intensity in her work that I often feel echoing in my own practice. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d62f6e92-4585-4d16-aa43-f49fc2d24fe3/CathrinHoffmann_Attaly_9.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival - Let’s talk materiality: many of your surfaces look scorched, torn or melted. What experiments, successful or disastrous, have most expanded your palette of textures lately? I’m increasingly trying to bring out texture from the smooth oil surfaces. Lately, I’ve been drawn to the contrast between a digital-like aesthetic and a rough, sculpted surface. I’ve started building my paintings with layers of gesso, working almost like a sculptor, while the final layers are super-thin glazes that make the colors pop. My process begins with an intuitive sketch, then moves into a carefully considered, almost digital compositional stage, and finally embraces the freedom and unpredictability of the materials. Since I’m not formally trained as a painter, there are often moments in this process that escape my control, and I actually like it that way. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/27f21252-6a8f-416e-95b0-a4ca5bb045c0/CathrinHoffmann_Attaly_11.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival - You’ve mentioned that time spent in Nicaragua working twelve-hour days unlocked something vital for you. How do residencies or periods of dislocation continue to rupture your habits? I really enjoy the residencies. I’m not someone who can stay in a daily routine for too long. I need change and challenge, especially in terms of place and culture. Every residency opens up horizons for me that I couldn’t reach before. Even though it’s often stressful, with deadlines and constant pressure, I actually enjoy that. Maybe I even like the feeling of being a little out of place. Without these breaks, I’d probably just get stuck in my own patterns. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/209fcd97-6c25-492c-b4a6-7efd72d3e9eb/CathrinHoffmann_Attaly_6.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival - Soundtracks often leak into your Instagram stories. Does music guide the rhythm of your mark-making, and if so, what have you been listening to while preparing the new body of work? I often paint in silence. It really depends on the stage of the work. I’m not great at multitasking, so I need quiet to focus. But then there are phases where it’s all about the sheer joy of painting, the craft itself. That’s when I usually put on audiobooks or podcasts. Lately, I’ve been listening to Paul Lynch’s book "Prophet Song". https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/e05b6a6a-a35a-494f-aa79-e6d7999b773b/CathrinHoffmann_Attaly_7.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival - Looking a decade ahead, what would you like viewers to feel when they stand in front of a Cathrin Hoffmann piece in 2035—terror, tenderness, or something we don’t yet have words for? I just hope we’re still able to feel, to not get completely numb from all the constant distractions and bombardment, all the fake news and noise we’re swimming in these days. Beyond that, it doesn’t really matter what we feel. The main thing is that we’re still capable of listening… especially to our inner selves. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371641762-F4FZ6ASPJ88W3EOS1K9R/CathrinHoffmann_Attaly_1.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371642116-R5IV5K6MXHQOHV67SG0R/CathrinHoffmann_Attaly_2.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371643857-5UE65M1IOKCEXWP39MS0/CathrinHoffmann_Attaly_3.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371644184-G31IRCSZYDFJPHDC4WND/CathrinHoffmann_Attaly_4.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371648221-27WXM8JR5RHNNW6RJ9VC/CathrinHoffmann_Attaly_5.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371646901-TGEUY3B9YI9OAPR3LDYO/CathrinHoffmann_Attaly_6.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371648912-CXAEKN65NEIGB8I8LDQP/CathrinHoffmann_Attaly_7.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371650118-3INVEL80FXA6OM3ZOYQ1/CathrinHoffmann_Attaly_8.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371650662-Q8D27JG9WARP9N7HU6YP/CathrinHoffmann_Attaly_9.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371652221-4OJ4RDHPWL9ZXFEMOXSO/CathrinHoffmann_Attaly_10.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1756371653202-PWCDTLQHEXOZN9427ARS/CathrinHoffmann_Attaly_11.jpg Interview - The Tremor of a Hand: Cathrin Hoffmann on Texture, Identity, and Survival https://www.attaly.fr/interview/sculpting-wool-shaping-identity-a-conversation-with-jessica-costa monthly 0.5 2025-08-28 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/c9f94a92-9c21-4ad8-bbe7-83e8117af6f3/JESSICACOSTA_PORTRAITS_3.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa - Can you tell us about your journey into the world of textile art and craftsmanship? I've always been fascinated by working with my hands. As a child, I would watch feminine TV shows focused on crafts and DIY projects in the evenings with my mom. With a background in fashion, my first approach to textiles came through fabric as a starting point for creation, a surface waiting to be transformed. I was especially captivated by the possibility of constructing something from a material as humble as yarn. This curiosity led me to explore various textile techniques like knitting and embroidery, skills I developed alongside my academic studies in fashion and textiles. I was struck by how these ancestral knowledges have historically been passed down in domestic, often feminized spaces, and how even today they remain at the margins of formal education. That tension stayed with me. I eventually began teaching these practices, but the true shift happened when I started investigating how textiles are situated in art history, and how this conversation often intersects with gender and social narratives. That’s when I understood that my work could inhabit this space in-between, questioning the divisions between art and craft, and embracing this contradictions and richness that come with blurring those lines. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1575cf19-7a6b-486c-b92a-ee597f55c1f5/JESSICACOSTA_GESTURE_15.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa - What were the first materials or techniques you experimented with as an artist? My practice began with knitting, especially domestic machine knitting. I developed my early works with this technique, and later transitioned to tufting a technique that, for me, disrupts conventional associations between textile work and notions of delicacy, containment, and femininity. The physical gesture of tufting (using a gun), which produces density, weight, and volume in the fabric, introduces a dimension I find conceptually rich. It allows textile to move beyond the surface, asserting presence and occupying space with sculptural ambition, which has led me to increase the scale of my work. Through this shift, I found a way to confront and expand the gendered narratives that have shaped how textile practices are perceived and valued within the art world. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/a1f72796-2b90-42db-a50e-f0ec4d2eda99/JESSICACOSTA_ARTWORKS_14.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa - Can you walk us through your creative process from concept to final form? Throughout each stage of my work, I try to bring gesture and intention to a technique that inherently involves repetition and rumination. It begins with hand-drawn sketches that combine abstract shapes with anatomical references and memories. I study weight, composition, and how gravity might act on the forms, giving them a sense of presence and vitality. Then I move into a color study, sometimes using painting, sometimes digital tools, always with brushes that simulate texture to approach the composition pictorially, like a painting. Next comes the technical phase. I transfer the drawing to the fabric at full scale and begin tufting. An interesting aspect of this technique is that it’s done from the reverse side, so the entire image must be mirrored. I use my earlier studies as guides maps that I can follow. When blending colors, I usually follow a more fluid, painterly process. Finally, I move into the part I enjoy most: sculpting the wool. Through carving, I shape the surface, adding volume and complexity. The final step is finishing, hiding edges, refining details, and vacuuming the piece, which can be time-consuming but it’s an essential part. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/7ac05d55-c512-4f5f-9507-abe3bdb45657/JESSICACOSTA_ARTWORKS_2.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa - What role does color and texture play in conveying emotion or narrative in your pieces? Color and texture are, for me, the strongest elements that define my artistic language. Describing my use of color in words can be challenging, as it’s a subjective and intuitive process that comes from observation: from my surroundings and from the conceptual direction I project onto each form. Working with industrially pre-dyed wool yarns, I can’t mix pigments as in painting, so one of my main challenges is to bring a pictorial approach to the material. I do this by layering threads gesturally, blending tones, and creating optical effects and depth. Texture, on the other hand, emerges as a sculptural exercise, it’s where I shape the narrative through carving. I build forms that are often amorphous but evoke a bodily or human presence. Inflated and fragmented shapes emerge as sensitive extensions, expanding bodies that resist control, that don’t fit into molds. These forms resonate with the experience of the female body in the world: historically seen as excessive, inappropriate, or out of place. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3a4d46e2-ffb7-4280-b760-92cee1e9a8c1/JESSICACOSTA_ARTWORKS_1.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa - Can you tell us more about the work you presented for the Prize—its meaning, materials, and how it came to life? The artwork presented at the Prize is part of a series titled "Sobejos." "Sobejo" is a Portuguese word meaning surplus or excess. This artwork explores and questions the boundaries of art, as well as the traditional hierarchy between fine art and craft. At the center of the piece, a rectangular form symbolizes a hidden frame, suggesting that the rug transcends the traditional iconography associated with painting. The abstract organic forms on the tapestry intentionally invite multiple interpretations from viewers, appearing as living organisms that fill and occupy space. These forms are deeply inspired by the internal structures of the human body: visceral, layered, intimate and speak to what connects us beneath the surface. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/57f9e2f9-c241-4d77-9845-47ad2586a2e5/JESSICACOSTA_ARTWORKS_4.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa - Your work feels deeply rooted in tradition yet very contemporary. How do you balance heritage and innovation? I work with an ancient technique, but what makes it contemporary is the way I approach it: the tools I use, the narratives I explore, and the aesthetic of the tapestries themselves. I hold deep respect for the legacy of textile practices, especially the labor of so many women, often anonymous and invisible, who preserved these techniques over time. Historically, tapestry in the art world has been a mediated process: the artist would design a painted cartoon, which was then passed on to a team of artisans (frequently women) who were responsible for executing the piece. In this structure, the intellectual and the manual were separated, and the makers were rarely acknowledged for their work. In my practice, reclaiming this space: the artisan becomes the protagonist, merging conceptual authorship with technical expertise. I'm interested in collapsing the hierarchy between head and hand, bringing visibility to the act of making as a form of knowledge and presence. That, to me, is where heritage meets innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/049dd928-6c38-4b74-a53e-2ca357f11b0d/JESSICACOSTA_ARTWORKS_13.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa - You were recently part of an exhibition at the Museo Thyssen. What was that experience like for you? It was my first time presenting my work in a museum outside Brazil, so I was both excited and deeply honored. Especially to have my pieces shown alongside such an important collection, which includes works by artists like Caravaggio and Van Gogh. Sometimes, when I think about it, it still feels surreal. Being there marked an important step in my career, particularly in terms of reaching a broader audience in a city as international and culturally significant as Madrid. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/13b150b9-a8c2-4c65-a9fd-ef283d79859d/JESSICACOSTA_GESTURE_12.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa - What are you currently working on? Any upcoming projects or collaborations you’re excited about? At the moment, I’ve started a research that explores my ancestry, particularly through the women in my family who worked with traditional textile practices. This investigation is especially connected to the part of my family that lived in Pernambuco, in the Northeast of Brazil. I'm also developing new pieces for upcoming art fairs in Brazil, including ArtRio, one of the most important fairs in the country, held in Rio de Janeiro. At the same time, I’m exploring opportunities for international artist residencies. I feel it's the right moment to open myself to other contexts beyond São Paulo and let new environments influence my practice. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741368366-A6XMUOJ03T8H4X9KY7P0/JESSICACOSTA_ARTWORKS_1.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741377859-VZF9WJGZ3AZ4Z8Y4CFEZ/JESSICACOSTA_ARTWORKS_2.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741378232-VIBHCJANIUQV9U0LVVA1/JESSICACOSTA_ARTWORKS_4.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741557343-FVIGOBYNXDXFINIOWCZ0/JESSICACOSTA_PORTRAITS_3.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741387089-990MTLNWSE0M5SFE7VPO/JESSICACOSTA_ARTWORKS_5.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741392774-XQZ3T7S7O3F1ZTZMPBAO/JESSICACOSTA_ARTWORKS_8.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741397826-DB70V844PWPFZ3SZV5II/JESSICACOSTA_ARTWORKS_10.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741403136-ZME6YYXS7EWIMLX5F6DA/JESSICACOSTA_ARTWORKS_13.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741402041-00WBLYCVG2C69L7MHWUD/JESSICACOSTA_ARTWORKS_14.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741410997-71W8F37XU5ZGI75N5WXG/JESSICACOSTA_ARTWORKS_15.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741413752-YEK2AYD3W88WGUJXWINB/JESSICACOSTA_ARTWORKS_16.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741419889-CZ4TY3ROOZY23U4S6MZN/JESSICACOSTA_ARTWORKS_17.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741418513-2H8998SVPG8HQICSF65Q/JESSICACOSTA_GESTURE_12.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741433508-F9103S3ACG6LUWS8SP51/JESSICACOSTA_GESTURE_15.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741426467-9MJLZ5YAEXU7874UYFC0/JESSICACOSTA_GESTURE_17.jpg Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752741432952-KXY5JSIK3DS4NA6IQNJN/JESSICACOSTA_WORKSHOP_4.JPG Interview - Sculpting Wool, Shaping Identity: A Conversation with Jessica Costa https://www.attaly.fr/interview/color-flesh-machines-a-conversation-with-rafa-silvares monthly 0.5 2025-07-17 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/da79ff87-fa2e-4e8e-ab3c-b120edf618dc/Rafa+Silvares+04.06.2025_fot_Jerzy+Goliszewski_02.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares - You were born in Santos (Brazil) and later studied fine art, literature, and language in São Paulo. How did those early experiences – especially working as a designer, illustrator, and DJ – shape your decision to focus fully on painting? I’ve always painted and drawn, but for some reason, it took me a while to see myself as a painter. In my mind, it felt like something I had to earn. So, I spent many years working as an illustrator of textiles and as a DJ in São Paulo. Working on these jobs was so free, intuitive, and dynamic—mixing imagery, styles, scanning, printing, cutting, and combining words with figures on T-shirts, all while exploring various visual themes. In music, I mixed different beats to make people dance for hours. Later, I started assisting painters, cleaning materials, and making color palettes. When I began painting, the word “illustration” was used to diminish a painting among a specific group. Good paintings were supposed to look like “paintings”. It didn’t take long before I realized that this was quite the opposite of what I was interested in. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8e35665b-54b6-491c-8b9a-aff964774f14/_DSC7167.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares - You once referenced Mayakovsky’s “A tragedy” and the idea of objects rioting against humans. How does this sense of role reversal or autonomy drive your work today? Some ideas, poems, and works in general allow me to see the world differently or more broadly, but I'm not sure to what extent they influence my work thematically. Reading Paul B. Preciado, for example, gave me new insights into the symbiotic relationship between humans and technology, humans and substances, and the Pharmacopornographic system in which we are supposedly embedded, as well as the production of a collective Orgasmic force. Today, I would say that the idea of machines having sex, or machines that provide pleasure—like the Orgasmatron in the movie Barbarella—is very appealing to me. These themes float around me, but I don’t intentionally aim to depict them specifically. Ultimately, what motivates me in paintings is color, shapes, and lines. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/9b535da9-58c4-4331-96fd-260d925a2970/TRIO.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares - Colour plays a dominant role in your paintings—with bold contrasts, gradients, and an almost visceral quality. Can you tell us more about how colour communicates beyond the visual, perhaps through materiality or phenomenology? Some works on color theory and phenomenology that influenced me early on still resonate with me today, such as “The Interaction of Color” by Josef Albers, “Phenomenology of Perception” by Maurice Merleau-Ponty, and “Aspiro ao grande Labirinto” by Helio Oiticica. I believe these texts helped me see color in a more embodied and lively way. Color as something that can heal, that can upset, that can inject vitality, that can signal, and that can drastically influence emotions. Color as something that affects the whole body, not just the eye. And so on. My first oil paintings were very geometric and mostly felt like color studies. Over time, they began to loosen up a bit. I would say my current work is a strange mix of control and fluidity, tension and release, with color playing a key role as a source of frequency and energy. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/eb5ebac8-d8e0-4b42-bdfa-0184c73a3e11/018-Annunciation.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares - You’ve mentioned Duchamp’s Tu m’, Dada, futurism, metaphysical painting, and even early Renaissance artists like Masaccio and Fra Angelico. Is there a single piece, artist, or art-historical moment you return to again and again in your mind or process? Fra Angelico’s Annunciation is a painting that sticks with me. I finally had the chance to see it in person in Madrid recently. Some paintings keep appearing to me repeatedly. The works of Keith Haring and Kenny Scharf, for example, are like living beings. I recall a trip to New York in 2013, where I was wandering around the city and unexpectedly came across their murals and paintings in hidden spots. I then ended up dancing in Kenny’s Cosmic Cavern in Brooklyn. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3c6652aa-5c3b-44da-a1d7-4086aeb214d5/RS-Peres-Projects-Installation-view-2021-5-HIRES.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares - Your solo show Smoked Ham in Berlin launched an ongoing ‘vocabulary’ that you intend to revisit. Could you talk us through some key pieces from that show and how they’re evolving for your upcoming projects? In this exhibition, there was a painting I really like, which references Fra Angelico’s Annunciation. Among the works exhibited, flesh was one of the targets of my pictorial interest. I recall thinking a great deal about how flesh is depicted in sacred paintings and Brazilian Baroque sculptures. In these works, flesh is seen as torn, pulsating, and full of expressive qualities. So, I tried to visualize flesh today, and the result was a voluptuous, sensual, cosmetic-like, smoothly blended element that has no wrinkles. A piece of ham with a smoky eye effect. I notice that these interests continue to shape my current paintings in various ways. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/7d178521-0aff-45da-8624-7ea94ca867ae/RS-Bloom-2024-Installation+View-HIRES-7.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares - As you continue building your visual vocabulary through industrial objects and colour experiments, where do you see your work heading next? Are there new media, scales, or forms you'd like to explore? I'm quite intuitive, so it isn't easy to predict. One thing is certain: the process of magnetizing ideas, figures, and creating visual associations is quite empirical and a fascinating part of making a painting for me. I wouldn't delegate all of this to an AI to do the math, for example. On the other hand, VR and AI tools can be helpful for specific parts of the process, much like digital collage, vector illustration, and drawing. Recently, I've been trying to find balance with my compositions. The element of shift feels more present, expressed through color gradation and movements such as circles, waves, swirls, and spirals. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/355bf07e-7a29-4e99-a7f6-3b664e3f4275/_DSC7184.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares - Finally, what do you hope viewers take away from experiencing your work? Is it humor, criticism of everyday life, an invitation to rethink material routines—or something else entirely? Well, it can really be all or none of those things. When I’m in the presence of a work of art, I try not to focus too much on the context or themes behind it. I always try to sense if there’s a soul there. Most of the time, I don’t really like it when the work forces a specific way of being perceived. Although most viewers want to know what the work is about - we do have that fixation - I don’t think it’s fair to impose anything on the viewer. If I could, I’d love to get away with just providing a nice ride for the eye. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061026112-618ABQPNXPBK4QUV3Q94/_DSC7167.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061038489-XV63VPJBEPJXJVF3JV95/Rafa+Silvares+04.06.2025_fot_Jerzy+Goliszewski_02.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061025998-1VCSRY1VPZWUPGOUDDBX/_DSC7184.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061028537-BPTUIFUW7VXWQXWU1679/002-Ace+of+Cups.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061028739-HLV27C129QRKAP236KRT/004-Pleasure+Principle.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061030842-1XNM2FKY4PA2FQKOHZ1M/009-Meat.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061030757-U1GRS3DL2V8RT6Q1727D/018-Annunciation.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061035471-ETKUGCZDD8V0FEC48D75/Rafa_Great_curve.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061033338-Q1U8Z6XP2PWB4269TOKI/RS-Bloom-2024-Installation+View-HIRES-4.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061035380-X9OOKEJ3B3Y78J77UDKK/RS-Bloom-2024-Installation+View-HIRES-7.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061036799-T1XJTDEG78UVK7BXZZC0/RS-Peres-Projects-Installation-view-2021-5-HIRES.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1752061037256-QEUR01BQCNPF6VHKKK3T/TRIO.jpg Interview - Color, Flesh, Machines: A Conversation with Rafa Silvares https://www.attaly.fr/interview/last-human-teachers-sculpting-humanity-with-ryan-schneider monthly 0.5 2025-07-09 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8e6fbf24-39b6-437f-baee-99a8baf8adb0/L1200175.jpg Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider - What inspires the forms and textures in your sculptures? My inspirations come from many places- within and around me. The rock formations, flora, fauna, and otherworldly views of the desert I live in always inspire. The physical act of altering materials to make them into sculptures inspires me, and most of the forms and faces arise from the physical exchange between my body, my tools, and the organic materials I’m working with. Things that also inspire me, in no particular order: trees, petroglyphs, Diné, Zuni, and Hopi jewelry, Roman statues, African sculpture, prehistoric monoliths, animals, rituals, yoga, Ram Dass, Pema Chodran, swimming in cold lakes and hot springs, Pre-Columbian art, the human face and body, sci fi etc. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/5a9713d2-763b-4fa5-93c9-b88037ef4b40/6f49580a-7046-4bae-b3a2-e4c164e302c9.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider - Can you describe your creative process when starting a new work? I draw inspiration from many sources for my work. For me, sculpture is a very organic process of trial, error, and experimentation. I work with materials that are of the earth: wood, stone, and bronze. Those materials are not always easy to control, so I have to “co-create” with the material to arrive at the finished sculpture. I ask the block of stone or wood what it wants to become, and hopefully it will show me. I believe these materials contain an “essence” and a life force energy that I’m attempting to release as I carve. My practice is rooted in all sorts of mythologies and history. Indigenous art is a big inspiration for me, and I have great respect and reverence for it. In addition I draw from Ancient Greek and Roman statues and battle masks, Ancient monolithic stone carving, African sculpture, cave art and petroglyphs, and Polynesian Tiki. I also draw from the natural rock formations, flora, and vistas of the desert landscape around my home and studio in Joshua Tree, California. While I’m making the work, I’m not consciously thinking about any of this- it has been digested within me and is unconsciously deployed in my physical approach to sculpture. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/0fe19595-f0bf-4ed4-83cb-323a05296925/37ea9c0b-d486-4f72-8d67-05a1789e1c55.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider - What does the title "Last Human Teachers" mean to you personally or conceptually? The title “Last Human Teachers” encompasses a lot of the themes and concepts within my work. But in particular, at this moment, I am thinking a lot about the experience of purely being human- and how that experience could soon be erased as AI worms into our consciousness, thinking processes, and bodies. In that sense, everyone alive at this moment could carry that sacred knowledge of “human beingness” into the future and pass it on to the next generations, thus being the “Last Human Teachers”, before our minds completely merge with technology. My goal was for these works to really exemplify that humanness- that something within us that is very hard to put one’s finger on, but you know it when you see it, or feel it. I feel this way when I look at petroglyphs, as they are such a pure human form of communication. Thousands of years later, in a totally different world, we can look at them and feel that raw human urge to draw, communicate, record, analyze. I want the works in “Last Human Teachers” to do that for humans 100 years from now, if there are any of us still left then. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3557cabd-022d-4990-bb97-f6569c15b7be/5d1d79d5-bde1-443f-ab45-feca4cf3ecac.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider - How did you prepare differently for this solo exhibition compared to previous ones? The process of making this show was quite different than any other exhibition I’ve made. For this show it was all hands on deck to create enough work, and the right work, to fill the varied outdoor gardens, terraces, dungeons, and Chapel space of the Citadel. My wife Dana Balicki played a big role in conceptualizing the “big vision” of the show, and also worked tirelessly on the administrative details of putting the show together. Working in all mediums simultaneously, and having lots of assistance in the studio was new for me. Also, the collaboration with Camille Frasca, director of La Citadelle, was a great development. We worked together very closely throughout the exhibition, bouncing thoughts and ideas off of each other, and this collaborative, open spirit really made the exhibition creation experience special for me. This was also my first show where I made works in situ. I had a residency at the Citadel for 2 months before the show opened. The museum procured giant elm logs for me from Northern France and I made 4 sculptures from them for the show. Working in the ancient walks of the citadel, with a view of the sea and mountains surrounding Villefranche Sur Mer, was one of the best experiences of my life. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/284bc67a-9709-47e8-be0f-7afe7e3add6e/b76e126e-47a0-4736-a8be-cfe725fbc823.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider - How do you stay creatively motivated and avoid burnout? My work is very physically demanding and really pushes my body and mind to their limits on a regular basis. When I’m working on a big project, I just go into it fully and work almost every day for months on end till I’m happy with the work I’ve produced and physically / mentally/ emotionally exhausted. Then I usually take a break for a month or two, if I can- though it isn’t always possible. Last year I went to Kauai to regroup and heal after a few years of non stop work deadlines. Then I opened a show in NYC and after that spent a few weeks in Costa Rica where I learned how to surf. Then I went on a 3 week “walk about” in Northern California- the Sierras, Mt Shasta, Mendocino- swimming in cold lakes and soaking in hot springs. All of that helped me to regroup and begin making the works for “Last Human Teachers”. I started to think about stone on those trips- and when I actually got back into the studio I began to work with it. I also began a yoga practice at this time that truly saved my brain and body and also helped me visualize the works for this show in many ways. I also get one or two massages a week, go to a chiropractor, and eat pretty healthy- all of which keep me in good working condition. Also- sometimes I just burn out, and stop. There’s no point in working if I’m not excited and motivated. Sometimes you just need to get quiet for a while and the next things come when they’re ready. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/f53560ec-c76a-49ed-b16b-1863e9c4276f/L1190987.jpg Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider - If you weren’t an artist, what do you think you would be doing? I would probably be a massage therapist, a yoga teacher, or just live in a van and travel around swimming in lakes, hiking, and soaking in hot springs. But I’ve always been an artist, so truly I can’t even imagine doing anything else. Whatever I would be doing in life to make money- I would always be making art as well, even if I was my only audience. That’s just how it’s always been. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554975186-4PBRTSU424EO4D5DJAC2/L1200175.jpg Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554981252-GJA0EQUTRYAQRVIMJXLW/1fcc3b35-909a-492d-96d1-f30b0eb53c1a.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554981321-A1BUHO8JO7ENJ5EPR7R2/5d1d79d5-bde1-443f-ab45-feca4cf3ecac.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554982439-1P2VIR6NAB9WR69VRQD9/6f49580a-7046-4bae-b3a2-e4c164e302c9.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751555081429-XYG7WTR5VTLZ3CD50J07/L1190730.jpg Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554982687-CWL9U4PR1TIPVQGXUF7V/7b7a2a34-8050-46d9-8422-b5165847c939.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554984456-APL9K0NSJ46VH1SIKM5J/9f56a0ff-f472-4b23-ab63-41807ece8e1c.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751555084606-74MMZ80GFGEM2I2PHZLB/L1190987.jpg Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554984683-XTGJ1496J7LVDFGA7EZS/9f6524b9-38bd-4736-9023-72f33870f936.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751555073200-5KXDBP8Y3ND0XX7IN0FU/L1190787-2+%281%29.jpg Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554986169-HZ6U20UAKC6BZBDBIAKX/37ea9c0b-d486-4f72-8d67-05a1789e1c55.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751554986507-DAW2C1RADQATVBAYE2MC/b76e126e-47a0-4736-a8be-cfe725fbc823.JPG Interview - “Last Human Teachers”: Sculpting Humanity, Memory, and Myth in a Tech-Driven World with Ryan Schneider https://www.attaly.fr/interview/billy-tartour-gallerist-behind-opa-projects monthly 0.5 2025-07-09 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/383aae56-327b-4ffe-9b15-b4b599c31353/WhatsApp+Image+2025-06-17+at+21.07.53.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. - Billy, can you introduce OPA Projects to us in your own words? OPA Projects is a contemporary art gallery based in Miami. We show both emerging and more established, institutional artists. The idea behind OPA is not just to exhibit art — it’s to create a space for conversation and connection. We host private dinners, cocktails, and events at the gallery. There’s a bit of a club atmosphere —intimate, international, and open to collectors, art lovers, and curious minds. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/9001798d-3d8a-4546-9fd1-5ded5f289d08/WhatsApp+Image+2025-06-17+at+21.09.14+%281%29.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. - What does the name “OPA” stand for? Is there a story behind it? “OPA” is a word that exists in several cultures—Greek, Basque, Hebrew—and it always carries this idea of joy, energy, a kind of spontaneous celebration. That’s what we want OPA Projects to be: an international space full of life and connection. Our team, our artists, our curators—they come from everywhere, and we all share that spirit. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/5cca4c54-1998-4206-8265-80d407fcb971/WhatsApp+Image+2025-06-17+at+21.09.14.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. - What has been the most memorable piece or moment at OPA since it launched? At our last show, “Echoes of the Unseen”, we placed a powerful piece by the young artist Jessica Taylor Bellamy in dialogue with a major work by David Salle. Jessica came from L.A. for the opening, and she was genuinely moved—David is one of her inspirations. Creating that kind of emotional bridge between artists and generations—that’s why we do this. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/54262ad5-8178-4374-87f0-485e04bf9ffa/WhatsApp+Image+2025-06-18+at+11.03.02.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. - What’s next for you and for OPA Projects? In July 2025, we’re opening a show called Out of LA: Contemporary Voices. It will include artists from Los Angeles like Ed Ruscha, Kour Pour, or Emily Ferguson. We want to show our support for the L.A. art scene, especially after the fires earlier this year, and highlight just how vibrant and essential their artistic community is. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335535337-KPIIGLMHLR5MKQ4PBI09/WhatsApp+Image+2025-06-17+at+21.07.53.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335535749-KPVXBQ9AR5X7Z8I8AV11/WhatsApp+Image+2025-06-17+at+21.09.14.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335537973-T4AQW6AOI12EN9SGOU7N/WhatsApp+Image+2025-06-18+at+11.03.02+%281%29.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335538143-SO118OOA84G3WAEH1B7K/WhatsApp+Image+2025-06-18+at+11.03.02+%282%29.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335539426-IXF2UIMZO0QJG706759Y/WhatsApp+Image+2025-06-18+at+11.03.02+%283%29.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335539948-VF5TRQ5YGGU3850STM0L/WhatsApp+Image+2025-06-17+at+21.09.14+%281%29.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335541182-6CWJSQFEIXXE8QAXUDQH/WhatsApp+Image+2025-06-18+at+11.03.02+%284%29.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335541276-SM2EKALW7I4UNJ5AWOZC/WhatsApp+Image+2025-06-18+at+11.03.02.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335542919-X697Z639TF8WX5HU9JPC/WhatsApp+Image+2025-06-18+at+11.03.03+%281%29.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1750335543424-XIECE5GDFLEDTUPQZIBN/WhatsApp+Image+2025-06-18+at+11.03.03.jpeg Interview - Interview Presentation: Billy Tartour, Gallerist Behind OPA Projects. https://www.attaly.fr/interview/from-graffiti-to-plasticism-a-journey-through-the-multifaceted-art-of-stefan-stanojevi monthly 0.5 2025-06-19 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/95efe5aa-6539-47c1-aa7d-b0abfecc3272/IMG_7030+2.JPG Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević - You started as a graffiti artist in 2001 and evolved into a digital and 3D artist. Can you tell us about that journey and what drove you to explore different mediums ? Graffiti was an instant impact but everything else came gradually. Visual world is vast so I was curious about different things and that shaped me. Firstly I did graffiti then lettering. Then jumped into digital design. Finally I decided to start learning about the 3D environment. And I’m still learning today and it seems like forever is not enough. However, in parallel I painted, so digital to physical merges naturally. Nowadays I lean on these experiences but mostly I look towards new excitements. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/a9bc67fc-b6f2-4914-8d3c-e4f55c771fbb/3453549360597450094_443641022.jpg Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević - Your work blends digital and physical forms in what you call "plasticism." Could you explain your creative process, from the initial concept to the final piece, whether it's a painting, figurine, or mural ? I will try:) Considering figurines I brainstorm with pencil in the form of sketches and then do modeling, 3d printing, and finish. With canvases murals and graphics approach depends. It can start from reference for modeling (painting, sculpture, from life) or it can start from abstract forms, or I chase a certain narrative, or even certain phenomena, feeling, gesture.. That establishes a frame for the start. So I can say that I start modeling with an idea of direction. When the modeling is done, I transfer geometry to another 3d programm where I set up lights, cameras and materials. With emphasis on composition and light at this stage. I optionally do post production and coloring. When the digital phase is over, I start with the physical phase where I do all the preparations. Buying materials and tools, gessoing, sanding, color mixing. I used to paint with spraypaint but recently I switched to airbrush. Finally I varnish the canvas. After that I take photos of my work, postproduce it, post it on social media and do management. Also handle packaging, shipping, taxes and studio. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/fcd1723d-a811-4b31-8c3e-710a6c93a5ce/IMG_6867.jpg Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević - You’ve mentioned that your work often plays with the idea of things being "trapped" in plastic. What does that concept represent for you, and how do you see it evolving in your future work ? I’m excited about it. It’s like fetish. There is a lot of space for evolving. It’s bad luck to speak before acting. So I’ll stay mystic on evolving plans. :) https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3371dd45-a9d2-4838-b016-28592ff7954c/3432279117678040767_443641022.jpg Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević - Your work is known for its playfulness and humor. How important is it for you that your audience understands the message behind your pieces, or do you prefer that they interpret them in their own way ? It’s not important that the audience get an exact message. However, It’s great if they get an impression, emotion, feeling or spark of fantasy. I witnessed people cry in front of my work without knowing the meaning. If it doesn't relate to you as a visual statement, words won't bridge that hole. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1733842187209-QTGVU6WYDYM564ZQNF1X/IMG_7030+2.JPG Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1733842146807-075JPRXT2ZUSPNUPUQYJ/3432279117678040767_443641022.jpg Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1733842167980-ZXPJ05UF7HCKSQKES7VS/IMG_6867.jpg Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1733842193473-1GWH2M6ISQOY9QHKU4TK/IMG_6677.jpg Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1733842364607-JPXQ7NSB951DQY8KVN8C/3453549360614289171_443641022.jpg Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1733842369453-EHN2RIECB38NCIJW704W/3429225952229518964_443641022.jpg Interview - From Graffiti to Plasticism: A Journey Through the Multifaceted Art of Stefan Stanojević https://www.attaly.fr/interview/csar-piette-la-peinture-lre-de-la-simulation-et-de-lhyperralit monthly 0.5 2024-11-25 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/f4726bdc-f8da-4105-a38b-2b425e823c5e/2+copie.jpg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité - Votre travail se caractérise par une esthétique très lisse et hyperréaliste. Comment avez- vous développé ce style unique que vous appelez "hyper plastic" ? Quelles ont été vos principales inspirations techniques et visuelles ? Je dirais que mes peintures se situent à la fois dans l’hyperreel mais également dans l’hyper artificiel. Elles évoquent le monde digital contemporain omni-présent comme les emoticons présents dans certaines applications, stickers ou encore avatars avec ses surfaces lisses et brillantes. Elles sont réalisées à l’aérographe qui est pour moi, quasiment une extension du monde digital. Sur une touche de peinture a l’huile, la profondeur se cumule à la hauteur et à la largeur qui fait qu’il est assez difficile d’obtenir quelquechose de vraiment plat. La couche d’aérographe est tellement fine, que la profondeur n’existe pour ainsi dire pas, comme sur un écran. Et le rendu est plus froid également. Ce qui me paraissait mieux représenter ce monde digital. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8d5a5106-b937-44ba-90da-57d1f5dddbae/Ce%CC%81sar-Piette-Butterfly-Paintings.jpg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité - Vos œuvres interrogent souvent la frontière entre l'objet artificiel et l’objet artistique, notamment avec des représentations qui évoquent des jouets. Comment décririez-vous l’impact de cette "jouabilité" sur la signification de vos œuvres ? L’aspect de mes travaux sont une sorte de point de rencontre entre différents paramètres. Mes limitations techniques sur les différents logiciels (formes simples, plastique etc), l’évocation du monde digital lui-même, mais également la volonté d’aborder la Peinture de manière respectueuse envers la tradition mais également une forme d’ironie face à l’approche de celle-ci. Représenter des sujets traditionnels de cette manière provoque nécessairement un effet peu habituel. Une sorte d’effet ‘high culture/low culture’. De manière plus générale cette esthétique évoque d’un part le monde digital mais une sorte de simplification sans friction du monde au sein de cet espace digital. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8ced7070-d66b-493f-a1e0-74dc60722973/cesar_piette06.jpg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité - Les critiques remarquent souvent l'absence de traces humaines dans vos tableaux. Pourquoi cette décision d’effacer toute marque physique dans vos œuvres ? Quel message essayez-vous de transmettre à travers cette approche ? L’absence de marques répondent à une exigence de simulation liée à l’utilisation de ces logiciels. Généralement la fonction du logiciel 3d est de simuler la réalité de manière plus ou moins poussée. Il aurait été difficile pour moi d’obtenir un rendu assez convainquant en ayant des traces de coup de pinceaux trop visibles. Ca ne marcherait pas. De plus l’idée de Peinture est la plupart du temps associée au coup de pinceau. L’idée d’approcher par la peinture sans ces marques était peut-être un moyen pour moi de l’approcher de manière un peu provocatrice mais également d’ incarner ce monde digital dans lequel nous sommes plongés quotidiennement. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/c31cb25e-5d4a-47d8-a059-1459c6c9fda0/30bb4ef4a1c6a0f2e18d62ef079c207ej.jpg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité - Votre série récente sur les papillons, exposée à la galerie Almine Rech, introduit des matériaux et textures variés, comme le plastique, le marbre et l’or. Que représentent ces choix de matières pour vous, et comment contribuent-ils à la narration visuelle de vos œuvres ? Le choix des matières pour cette série, était avant tout des choix visuels. Même si quelques-uns peuvent faire référence directement à l’histoire de l’art (comme le papillon chryséléphantine). Dans le même temps tous les peintres ont étudié et observé les matériaux afin de pouvoir tenter de les représenter. Cette série participait aussi de cette élan. Le métal, l’or, le marbre etc sont des matériaux classiques que l’on peut retrouver partout dans l’histoire de l’art. Mais ils sont à remettre en perspective avec l’utilisation des logiciels 3D. Il existe des bibliothèques de matériaux prêts à l’emploi où il suffit de les glisser sur les formes que vous souhaitez (pour faire simple). Les choix sont donc le résultat également d’une part d’aléatoire et parfois de l’inattendu. Pour d’autres je les ai élaborés moi-même, comme celui simulant de la glace pour et ainsi montrer une partie de l’étendue des possibilités du logiciel. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557691955-WX8Y1QI0PIS2Q1HOQ822/2+copie.jpg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557630387-ACA6FDCPGQE2SRSRELPA/30bb4ef4a1c6a0f2e18d62ef079c207ej.jpg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557632266-IZKQYHCQAF4UOKSBECJX/Almine-Rech_NFT_Flash-Art-02.png Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557681116-S25Y94PFRP9N4VLG5LWZ/7a56e816d671e795bee50583a60489adj.jpeg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557705645-XYHS1D3KUBQGZDPWH10S/cesar_piette06.jpg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557760203-6WF6IRG0GIU6Y13VX8U8/76501dcadddb615336cd0fba61bf4b9fj.jpeg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557772918-JGV6SDOA7CR1WRLOJP1Y/f8dcd7beff83109ea04b869a46bf6f47j.jpeg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557786864-L70Y2F4KRXEDUEIRY35Z/edce21db024cdc40fd7040014c09f141j.jpeg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1732557805787-JWGRZ22KX2KAHKGZ1N0V/d88f223a26c2cace11fdd574c7507131j.jpeg Interview - César Piette : La Peinture à l’Ère de la Simulation et de l’Hyperréalité https://www.attaly.fr/interview/inside-divine-fool-austin-lee-on-blurring-the-lines-between-innocence-and-absurdity-with-carl-kostyl-gallery monthly 0.5 2024-11-03 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/eedae8af-cb13-484a-b8ca-06ec007ed0fe/Austin+portrait+%281%29.jpeg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery - Your work often blends digital tools with traditional media. Can you walk us through your creative process from digital concept to physical artwork ? • I see something interesting in person, or an image appears in my mind. • I draw what I saw. • I make a 3D drawing using VR. • I put the VR drawing into a 3D modeling program. • I create a digital image. • I make a painting from the image. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/797a8067-04f8-4dbf-8b01-41745acebd2e/Austin+Lee+installation+%286%29+%282000px%29.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery - Color plays a major role in your work, often evoking playful or emotional responses. How do you approach your use of color ? I try to make a painting where the color affects you first. It makes you feel something before you understand what the image is. You walk into the room, and it just feels like “what is this?” before anything else. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/0fdfbf14-d77c-4ac1-9558-ffd16cbc777f/Austin-Lee-installation-16-2000px.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery - Much of your work feels inspired by the aesthetics of digital culture. What role do digital environments, social media, or video games play in your creative inspiration ? This is the world around us. I try to let my environment be reflected in my work. A challenge, as I get older, is to make sure I keep paying attention to the world. I want to stay curious as I age and continue finding new things to be excited about. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/10cc3830-ae0e-473e-8ebe-deeea2bd68c8/Austin-Lee-installation-21-2000px.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery - Technology is evolving rapidly. How do you see the role of digital tools in the future of art-making ? Do you think they’ll become more essential for artists ? I think digital tools are becoming unavoidable. When I was younger, I was the only artist I knew using Photoshop to compose my paintings and plan everything out. Now, the majority of artists do this, regardless of whether their work deals with digital issues. These tools have become part of our way of life. My work often explores these things early on, trying to poke at them as they unfold. Just think about photography—something that was new and exciting 100 years ago is so commonplace now that people photograph things almost as a way to remember. It’s just merged with who we are as people. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d28dea07-84d2-4e83-ac46-ebab7073c7c5/Austin+Lee+installation+%288_1%29+%282000px%29.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery - How has your artistic style evolved over the years ? Are there any pivotal moments in your career that significantly shaped your approach to art ? For a long time, I was interested in digital drawing and recreating the kind of images I was drawing on a screen. More recently, I’ve become interested in 3D space, which is a major shift for me. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/427cd261-dff5-44b9-b51a-e77d506fb835/Austin-Lee-installation-4-2000px.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery - With the rise of AI-generated art and NFTs, how do you see the role of human creativity evolving in the digital age ? I don’t think AI has changed creativity too much. It just seems like a new tool to help us be more creative. It feels like spellcheck to me—if I can spell better, maybe I can write better and be more creative. I know some non-artists who use AI to make images when they didn’t think they could before. It’s become a clunky way for them to express themselves, but the creativity still comes from them. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730639834785-8I30P8PH8KKKMRTKH1NJ/Austin-Lee-installation-4-2000px.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730639835258-R8Y1QXGPIXTIVP4YH4HX/Austin-Lee-installation-16-2000px.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730639841603-ZKDGW39FRYHANG3YWEN5/Austin+Lee+installation+%286%29+%282000px%29.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730639838171-UMUY7W1CBAVZS7PM5DHI/Austin-Lee-installation-21-2000px.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730639882758-EHH3SL9X8EHEG2D4ZFSF/Austin+Lee+installation+%288_1%29+%282000px%29.jpg Interview - Inside “Divine Fool”: Austin Lee on Blurring the Lines Between Innocence and Absurdity with Carl Kostyál Gallery https://www.attaly.fr/interview/exploring-the-surreal-a-conversation-with-scout-zabinski-on-her-new-solo-show-at-gallery-carl-kostyl monthly 0.5 2024-10-03 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/977b575d-4826-403c-b6fe-b4c5b08dd8ec/image2.jpeg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál - Your work often explores vulnerability and the rawness of human emotion. How do you balance these intense feelings with the aesthetic beauty in your paintings ? The paintings for me are really about moments where you experience unpredicted and indescribable joy. You don’t really get a warning when things are about to feel like they’re just clicking into place. Those emotions can usually feel overwhelming. For example, when I was making this show, I was walking around a lake with someone that I care about, that I run around alone every single day. But moving slower, we noticed a field of orange wildflowers behind the gate, just growing amidst the trees in the shade. They were swaying in the breeze as if they were waving hello. About a week later, when I went back to that spot, all of them were gone, except one. I guess what I’m trying to say Is that beauty and the rawness or brutality of human emotion go hand-in-hand. You don’t get to experience bliss without understanding loss. So with gratitude i just try to focus on commemorating the beauty in those glimmering moments. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/f4307725-5bef-43d5-b8bf-7f9071ffc79b/Scout_Zabinsky_Hospitalet_2024_026.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál - You’ve developed a distinct style, blending abstraction with figurative elements. How did your artistic voice evolve over time ? Were there any pivotal moments in your creative journey that shaped your current approach ? Well, I didn’t go to art school, I actually studied psychology, but I’ve been painting since I was a kid. I think in college though, a very distinct moment was doing my first nude photo shoot. I had always painted nude figures, but once I had those images, compositions just started flowing into my head. Along the way I found what people like to call “flatness” in my work, but I think it really just comes from a desire to translate what I experience into something that both feels like the real thing and some thing that has a life of its own. Something that is uncanny, like you saw it in a dream, blurry and ethereal, but also completely recognizable. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1ac82ca3-a918-43bf-b2ef-fa1048df99ae/View+of+the+solo+show+by+scout+zabinsky+at+Carl+Kostyal Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál - Were there any specific experiences or moments in your life that directly influenced the works in this exhibition ? All of the paintings are pulled from either moments I’ve experienced or feelings surrounding a memory. To be honest, I feel like I’m at the point of my life where I’ve never been so happy or felt so at peace. I trust my gut and if something seems important enough to become a painting, I don’t really question it. I just let it have a life of its own regardless of whether or not it’s already lived a previous existence. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/873f38be-7377-4bf9-a162-36b04b1038e5/Scout_Zabinsky_Hospitalet_2024_016.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál - How do you feel your work has evolved since your previous exhibitions, and did this show mark any significant changes in your approach? I’ve changed my approach to creating art entirely. Previously, I would work six or seven days a week and not make time for much besides getting the painting done. It was exhausting, and I felt burnt out. With this show, I made a vow to myself to not sacrifice my life outside the studio for the paintings. So I took two days a week off, even if that meant not finishing the work potentially. I think it made the paintings even better because I was ready to put the art that I was experiencing in my life into the artwork itself. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/479bf1e4-e6d2-43d8-b412-0fed376a18e9/Scout_Zabinsky_Hospitalet_2024_046.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál - How do you feel about the relationship between the viewer and your work ? Do you encourage a specific interpretation, or do you prefer your pieces to remain open-ended ? The viewer is free to believe and experience whatever is necessary for them to see. My job is solely in making the painting. I have no say in how that affects them, all I hope is that it does make them feel something, whether that be good or bad is none of my business. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953856787-WQPS8GM0E0FG25CE7FR6/Scout_Zabinsky_Hospitalet_2024_005.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953857034-5DRA6JB25H8DC1DV188J/Scout_Zabinsky_Hospitalet_2024_007.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953858232-6ASFJPQ0M4R5HADD87LF/Scout_Zabinsky_Hospitalet_2024_008.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953859139-4GVJ8ORG2A7Q5FGJI2TZ/Scout_Zabinsky_Hospitalet_2024_012.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953867629-MXT66VUSDBTS427CPTN8/Scout_Zabinsky_Hospitalet_2024_074.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953859739-KX8H54IYT8TRR4CRHHO6/Scout_Zabinsky_Hospitalet_2024_016.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953860898-TQ7RY4RISVVLRYSYBR3N/Scout_Zabinsky_Hospitalet_2024_046.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953861407-57F2ZDA9CSVCIDNEKS4G/Scout_Zabinsky_Hospitalet_2024_034.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953866089-D0HZXZ6PH0ZBTHSWZ1F6/Scout_Zabinsky_Hospitalet_2024_060.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953862692-H5XO6OIVMTRRLO04S2TZ/Scout_Zabinsky_Hospitalet_2024_033.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953865343-MSN77OD1NTMERLJ19SCB/Scout_Zabinsky_Hospitalet_2024_056.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953863471-MA6NAECP0LCNS2EIHEJK/Scout_Zabinsky_Hospitalet_2024_031.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727953864261-T0R62U2ENTB3YW4QU7UZ/Scout_Zabinsky_Hospitalet_2024_026.jpg Interview - Exploring the Surreal: A Conversation with Scout Zabinski on Her New Solo Show at Gallery Carl Kostyál https://www.attaly.fr/interview/dreamscapes-and-liberation-an-interview-with-mercedes-llanos monthly 0.5 2024-09-30 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8c5cc580-0101-4eda-afaf-e43ed9fb0d73/Merces+llanos.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos - You’ve mentioned that your dreams are a significant source of inspiration. Can you walk us through how a dream might evolve into one of your paintings? Often I wake up and stay thinking a while about the dream I had, sometimes I have multiple dreams in the same night. If a dream leaves me thinking, I analyze it as it’s trying to tell me something about my psyche. I draw the dream in large scale and then paint it. Usually these dreams involve various people and sexual encounters, they make for very interesting compositions. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/7dbc728a-5d05-4fe5-8d91-bad2b653f5c9/240830_GX_Amanita_MercedesLlanos_Install01.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos - Your works frequently address themes of gender, power dynamics, andb patriarchy, particularly within the context of your South American upbringing. How has your background shaped the themes you explore, and have those themes evolved over time ? Growing up in a predominantly sexist household, and migrating from a sexist culture to a more feminist one which I consider is the American culture (where men are much more submissive). I always compared the two places and became anger at how things where (mostly) in Argentina and especially in my household. I think the way I grew up shaped the type of art I am making today. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8927903a-9d3d-4310-b50d-3f0a1ae220df/240830_GX_Amanita_MercedesLlanos_Install09.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos - You’ve cited Impressionist and Post-Impressionist painters like Toulouse- Lautrec and Monet as influences. How do their styles resonate with your own, and how have you adapted their techniques to fit the themes you explore ? Toulouse-Lautrec especially has been a big influence in me since I was young. The way he portrayed movement in his paintings and how drawing is a prominent aspect of his painting is mesmerizing to me. And the fact that he was an outcast also, how he hung out with marginalized people and the queer of the time. He seemed like a cool guy to hang around. Post impressionists took figurative painting to a new level, crossing the boundary of skin, and showing the soul inhabiting space. Edvard Munch is one of the most influential artists on me of the time. His sensitivity can be felt throughout time. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4b7b9657-31ce-474b-a4a1-4dd4778df69a/240830_GX_Amanita_MercedesLlanos_Install03.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos - How do you see your work evolving in the next few years, both in terms of scale and subject matter? In the next few years I see myself working in the same scale or even larger, doing more installation drawings and exploring themes of motherhood, as I am a new mother of a baby boy. I am going back to depicting my dreams and focusing in the psychology of dreams, as I have been having very vivid and interesting dreams lately. I am working on the fusion of painting and drawing and developing a personal visual language dependent on ambiance through color, fluid mark making and the verge between figuration and abstraction. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708208458-U3FNR1OCTAHNH8WP9C47/240830_GX_Amanita_MercedesLlanos_Install01.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708205204-WU2TZV0E0D9EK805X9DK/240830_GX_Amanita_MercedesLlanos_06+Large.jpeg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708207536-KFW5B57KFE9K8YJRF12C/240830_GX_Amanita_MercedesLlanos_Install03.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708209856-4KGPC8R2869OXL6IHGYR/240830_GX_Amanita_MercedesLlanos_Install04.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708210073-HCZXF26IQGYQC54OIUXJ/Merces+llanos.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708211664-O1S09A3RSNWH6M3K5TVQ/240830_GX_Amanita_MercedesLlanos_Install13.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708212565-NJZU6EZ8F83C5O9F4XZA/240830_GX_Amanita_MercedesLlanos_Install12.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708213852-W1BOGW3RB50HTRLZXCNU/240830_GX_Amanita_MercedesLlanos_Install09.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708215253-B6237NWVIKUUL7YGLHF6/240830_GX_Amanita_MercedesLlanos_Install07.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727708216574-VAILLYVOA9JER0APPTP3/240830_GX_Amanita_MercedesLlanos_12.jpg Interview - Dreamscapes and Liberation: An Interview with Mercedes Llanos https://www.attaly.fr/interview/barbara-penhout-rvler-linattendu-travers-son-exposition-la-bim-bam-gallery monthly 0.5 2024-09-30 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3256efc6-6bc3-436f-a0ae-a9432737b342/Barbara_Penouet_portrait_01.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery - Pouvez-vous nous parler de l’inspiration derrière cette nouvelle exposition à la Bim Bam Gallery ? Cette série vient à la suite de deux résidences. “I feel like fallin’ in love” / la résidence qui sert de base pour l’exposition. L’idée d’une résidence croisée m’est venue dans la solitude de l’atelier et l’envie de partager et de comprendre l’autre, la figure et le flux d’émotions que je peins. Comprendre pour retranscrire cette impression qui ne peut se faire que par la rencontre. C’est ainsi qu’est né le projet initialement appelé « Marie ». Durant une résidence artistique avec Morgane et Bastien, nous avons travaillé autour du projet “I feel like fallin’ in love”, que Morgane développe depuis deux ans en tant que chorégraphe, et qui explore les notions de monstruosité à travers le sexy et l’impolitesse. Qu’est-ce que cette membrane / ce périmètre englobant signifie lorsque l’on se l’accapare, lorsqu’on la franchit et que l’on conquiert le territoire environnant ? “I feel like fallin’ in love” cherche à déconstruire ces stéréotypes, à remettre en question les codes établis, et à révéler les douleurs sous-jacentes à ces interactions. La résidence avec Morgane et Bastien m’a permis de vivre avec eux. Entrevoir les fragilités qui se cachent derrière ces corps performants. Questionner le monstrueux : quels en sont les stéréotypes, l’authentique, le kitsch… Comment leur carcasse est animée par leurs émotions. Comment ils retrouvent le plaisir de posséder leur corps et de danser sur du XX. Le corps est un territoire politique, c’est ici une manière de le reconquérir. Être habité. Alors que dans le film “The Perfect Human” de Jørgen Leth on observe des humains fonctionner parfaitement, ici j’ai observé un rituel de dépossession et de reconstruction, qui, par conséquent, touche au monstrueux. Lors de cette résidence, j’ai produit de grandes encres dans la salle de répétition au sol. Cette technique a impliqué mon corps dans l’espace et le geste devait être spontané. Il n’y a pas de repentir, donc je devais ressentir avant de faire. C’est une technique qui impose de s’écouter, de prendre en compte sa respiration, son équilibre, l’impulsion… C’est beau de regarder vivre les gens. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d621d4cc-91a0-46d8-b404-79dc14bd25d5/Bim_Bam_Gallery_Barbara_Penhouet_06.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery - Qu’est-ce qui vous a poussé à collaborer avec la Bim Bam Gallery pour cette exposition en particulier ? J’aime la ligne de la galerie, je trouve les choix des artistes très cohérents et de qualité. Nous avons décidé de faire cette exposition en janvier avec Baimba, et cela a été une très belle expérience de pouvoir échanger ensemble après les temps forts de production tels que les résidences ou les rencontres à l’atelier. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d45ba3f3-007f-44dd-b993-a0f36da5fbcc/Bim_Bam_Gallery_Barbara_Penhouet_11.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery - Y a-t-il une œuvre dans cette exposition qui vous tient particulièrement à cœur et pourquoi ? Il y a deux toiles qui me tiennent à cœur : L’attente Les chaises font référence à la difficulté de communication et marquent l’absence. Cette interprétation de l’objet est utilisée dans la pièce de Pina Bausch. Morgane, qui est la danseuse et chorégraphe avec qui j’ai fait une résidence à La Magnanarie à Villedieu, est avachie sur la chaise. L’idée de cette résidence était de capter ces moments de lâcher-prise des danseurs et du corps performant pour montrer des fragilités qui nous ramènent à l’humain, et non à la répétition mécanique. Le paysage s’inspire du Berry dans les couleurs, la lumière et la composition. La toile a été peinte lors de ma résidence à l’abbaye de La Prée. L’ambiance peut être ambivalente, baignée de soleil ou de la lumière d’un incendie en arrière-plan. Le ventre S’il y a bien une partie du corps qui différencie l’homme de la femme, c’est le ventre. Celui de la femme peut engendrer la vie et fait l’objet de nombreuses tentatives d’appropriation par l’autre, devenant ainsi un véritable objet politique (cf. politique nataliste, par exemple). Lors de la résidence à La Magnanarie, Bastien et Morgane travaillaient sur le thème du monstrueux et de l’impolitesse. J’ai pu capter des moments où ils improvisaient et essayaient de voir ce qui pouvait provoquer le monstrueux à travers le corps et dans la réception de l’autre. Ici, le corps d’un homme prenant la posture et le ventre d’une femme enceinte interroge ; une inquiétante étrangeté apparaît. Il y a une douceur qui se dégage de cette atmosphère dans le regard du personnage. C’est l’idée de la transmission, de la communication. L’empilement des chaises en plastique, symbole de la reproduction de masse des années 60 et du pragmatisme d’empilement, évoque également l’absence et la communication. Les poteaux électriques sont reliés, sauf à la fin. Ce qui nous relie est coupé. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274721350-QEUNXCCX38LD0CT71A79/Bim_Bam_Gallery_Barbara_Penhouet_08.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274705105-JWC15VVEAWVLLFXQ52AR/2701_detail_01.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274706354-QBE6EADA1ADKGVLRTX7F/Bim_Bam_Gallery_Barbara_Penhouet_13.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274796735-KCRS26ANNOC1IHFXU0Y0/2706_detail_02.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274718151-EY5H793886V7B1GPWZQ5/Bim_Bam_Gallery_Barbara_Penhouet_12.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274790795-B7IB5MQRRHI5FKFS84AP/2706_horizontal.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274855544-P4FWWCX7DHAIM87LE3IR/2703_detail_02.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274731662-KT903HXAM789200X50TX/Bim_Bam_Gallery_Barbara_Penhouet_07.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274802419-RB2DK1WRSDJ04BECOVOZ/2703_horizontal.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274735058-6CVPLN0Y3TIHWGG1YUEZ/Bim_Bam_Gallery_Barbara_Penhouet_09.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274819628-MKFZNG37N71UQPM7UZQF/2705_detail_01.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274745907-F983OT40BGJYPN7IC8LF/Bim_Bam_Gallery_Barbara_Penhouet_10.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274850245-O2DIEUS2LJVK9B5QRIMH/2702_horizontal.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274749785-TNUZB73T1NXIXIUISR99/Bim_Bam_Gallery_Barbara_Penhouet_11.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274779661-PK7RDYEYW3LNFAXT37HO/Barbara_Penouet_portrait_02.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274759627-PNH0OJDHC18LDTLKPFFR/Bim_Bam_Gallery_Barbara_Penhouet_06.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274763590-9SH5CHBW1Q13MMTIL1YP/Bim_Bam_Gallery_Barbara_Penhouet_05.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274845297-62DW9ZTDLUZ1HQV7N2DZ/2702_detail_01.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274775874-NH8X43F490HVCB8MVRUH/Bim_Bam_Gallery_Barbara_Penhouet_02.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274777659-3Z6MPC23VJIIUVVS9E8E/Bim_Bam_Gallery_Barbara_Penhouet_03.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274814850-VTDPXQJ5JQSPBB4TVZPT/2704_horizontal.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274789468-OQXVVUOQU7H16BN5RVBD/Bim_Bam_Gallery_Barbara_Penhouet_04.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274805065-IXJ2FQ8Y7TNZKJ8V0NNG/2704_detail_01.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274825491-MOJ238KETWTRXYEWGK5O/2705_horizontal.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274839184-GMUSM2NL8V1Q0NSC7DIL/Bim_Bam_Gallery_Barbara_Penhouet_01.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1727274836846-CR1NR0HCHWCMKC53E4PN/2701_horizontal.jpg Interview - Barbara Penhouët : Révéler l'Inattendu à travers son Exposition à la Bim Bam Gallery https://www.attaly.fr/interview/w3y2vsgigcug8ud3p4kuh4x1r1nzjj monthly 0.5 2024-09-17 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/bb444864-5125-461e-a2a3-4c6195e1638e/Yam+Shalev.jpeg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist - Your journey from Tel Aviv to Berlin marks a significant transition. How has this geographical shift influenced your artistic style and themes ? I think firstly, and most importantly, the transition from Tel Aviv to Berlin changed my perception towards the arts and where I want to place myself within. As for my artistic direction, reflecting back on this transition, I realized that regardless of the fact that I kept changing my styles and themes, my art seemed to get more free and conscious at the same time. There’s something very intimidating in the freedom Berlin can get one to experience, and this overwhelming freedom got me personally to reflect inward on myself and being more self reflective. Now in Paris, I feel like going through the same process again, but in a completely different way I’d say. It’s too early to articulate, though. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8e8a7875-4d8b-49ad-9362-77bf0540d38d/Yam+Shalev%2C+%27Artist+at+the+Cafe%27%2C+2023%2C+Acrylic+on+canvas%2C+170+x+135+cm.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist - Your work often captures the intimate relationship with contemporary culture around food and table settings. What draws you to these subjects, and what do they symbolize in your work ? I find myself reflecting on this question myself more and more lately. As a first instinct, I’d say it's got a lot to do with where I’m coming from and what "table" and “food” represent in my life. Growing up in Israel with a very big but intimate family gets you around the table quite often, and that’s without mentioning that food's a big way to express love and affection in my homeland. It might be that the table was just a table. An object to paint. But as I dove deeper into this subject, I found myself more interested in the object itself than the scenario and setup, especially the ones that I met in my every day routine. The table became just an outlet of expression in some point, and as it goes, I keep evaluating what is it that I really want to paint. Now days, after some puzzling questions on that matter, I’m starting to break my own stigmas and barriers and letting myself get free from this subject in my painting. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/bbfb6c93-2fb8-440f-b278-7c49f7f43945/Works+By+Yam+Shalev+at+Allouche+Benias+Gallery Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist - Your paintings are rich in details yet devoid of human presence. What is the significance of this absence, and how does it affect the viewer's engagement with your work ? as mentioned before, I find myself mostly as an observer rather than a participant. It's got a lot to do with this and with the fact that I don’t find myself as an important character to deal with in my painting, although it’s been changing lately. I’m now on the verge to discover myself more both in the imagery and in the scene itself. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/dc5f0b2b-9fe7-4d62-8eb6-2b500ad846fa/Yam+Shalev%2C+%27Fair%27s+Season%27%2C+2023%2C+Acrylic+on+canvas%2C+180+x+135+cm.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist - You've explored themes related to celebratory, intimate, romantic, and vulnerable moments through your paintings. Can you share how personal experiences influence your selection of these themes ? all of my paintings are about me, the people around me, and the experiences we share. Some are fiction, but even these are real enough in my head. Or just an inspiration, I guess. I think personal experience is what defines us as individuals. And definitely influence our perception in all aspects. Lately, with everything that has happened and happening since October 7th, I find myself seeking more and more comfort and closeness with my identity and who I am and where I come from. It’s a real identity crisis, but the one that brings you to your roots. I find myself keep visiting every week the same museum and running straight to the same room full of paintings by Chagall. I can’t explain it. But everything that happening really gets deep in me. And for some reason that’s where I find most comfort, surrounded by his paintings and feeling reassurance. It’s already slowly projecting in my paintings. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/82ab3fb2-83ec-49a3-bd50-aa3ea7484bd2/Yam+Shalev%2C+%27Lemons+and+Flowers%27%2C+2023%2C+Acrylic+on+canvas%2C+115+x+90+cm.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist - Some objects in your paintings carry cultural or biographical meanings. Can you discuss how you selected these objects and their significance? I think that’s a more subconscious journey; I can’t pinpoint exactly. It’s always these objects around me. The one that usually gets out to the painting without even noticing. Later on, I’d realize what it was all about. If I’m lucky, I love flowers. I’m collecting books. I’m a (what some people would consider heavy) smoker. Naturally, all these will come to the canvas at some point eventually. While being a self-reflective painter (if I can say that), it’s inevitable to separate the objects and your surroundings that define you. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718629451278-1M51QPUMGX79DD32HCEA/DSCF9222.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718629457977-ONXGJ1UWE1ST1RGYF547/Yam+Shalev%2C+%27Artist+at+the+Cafe%27%2C+2023%2C+Acrylic+on+canvas%2C+170+x+135+cm.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718629455426-GVU9LCLNEJNROGH5D2CP/DSCF9290.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718629464903-FAN2YQ3KHVNRG6KBSLPM/Yam+Shalev.jpeg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718629460944-GL5I6LSFXOK529531QIR/Yam+Shalev%2C+%27Books+and+Flowers%27%2C+2023%2C+Acrylic+on+canvas%2C+160+x+140+cm.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718629452019-80E5VPF2HVIQ332JYK3P/DSCF9242.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718629464143-F6WCSVXLKEZGW6W1W4HX/Yam+Shalev%2C+%27Fair%27s+Season%27%2C+2023%2C+Acrylic+on+canvas%2C+180+x+135+cm.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718629469413-VM29DET4LO92O4K4WBDW/Yam+Shalev%2C+%27Lemons+and+Flowers%27%2C+2023%2C+Acrylic+on+canvas%2C+115+x+90+cm.jpg Interview - Yam Shalev: A Journey Through the Inspirations and Career of a Visionary Artist https://www.attaly.fr/interview/q9lrmc5tmzu1eocjiczbce8qmuinxs monthly 0.5 2024-09-17 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4e85a11c-e6e9-490c-9b16-48db570943c4/Portrait_de_Simon_Demeuter_2024.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres - Pouvez-vous nous parler de votre parcours artistique ? Comment avez-vous commencé dans le monde de l’art ? J’ai toujours dessiné depuis que je suis tout petit. J’ai fait des études de communication graphique à la Cambre à Bruxelles, puis travaillé comme illustrateur avant de me lancer dans la peinture. À l’époque, mon ex-compagnon, Eric Croes (artiste), était amené à faire pas mal de résidences où je l’accompagnais. C’est pendant ce temps, lors d’une résidence dans la maison du céramiste Pierre Culot que j’ai eu envie de me mettre à la peinture. C’était sans aucune prétention et pour le plaisir. Ensuite le galeriste Sébastien Janssen a découvert mon travail à l’occasion d’une visite à la résidence et m’a proposé une première exposition à la galerie Sorry We’re Closed. C’est comme ça que ça a démarré. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d75baaf9-7d0c-4c8c-821e-9ed7eb87ebf8/Bimbam_Gallery_Simon_Demeuter_04.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres - Pouvez-vous décrire votre processus créatif ? Comment abordez-vous une nouvelle œuvre d’art ? Je regarde beaucoup de livres et de photos. Une photographie est souvent le départ d’une première peinture. Ensuite, les suivantes viennent assez naturellement. Je dessine beaucoup avant de passer sur la toile. C’est le processus le plus long. J’essaie de trouver le trait le plus simple et de garder l’esprit et l’énergie du croquis dans la peinture. Quand je passe sur la toile ça va assez vite. J’écoute aussi beaucoup de musiques à l’atelier. Ça me porte. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/90f1f405-4157-40b2-a523-0506710a6e0e/Detail_d%27une_oeuvre_de_Simon_Demeuter.jpeg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres - Quelles techniques et quels matériaux préférez-vous utiliser dans vos créations ? Quand j’ai commencé la peinture je travaillais exclusivement à l’huile. Mais c’était frustrant pour moi. Je ne suis pas de nature patiente dans la peinture et j’ai besoin que ça sèche vite. Je ne peux pas passer d’une toile à une autre et attendre que ça sèche. Quand je suis sur une peinture je m’y consacre entièrement. Mon premier atelier n’avait pas de chauffage. L’hiver c’était compliqué d’avancer. Maintenant je travaille mes fonds à l’acrylique et travaille ensuite avec des sticks à l’huile pour les traits et les ombres. Cette technique me convient mieux et me permet de retrouver l’esprit des esquisses. Les acryliques sont aussi devenues très qualitatives. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/0a90630a-2cd5-4801-8b27-f267f15741ec/Bimbam_Gallery_Simon_Demeuter_06.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres - Pouvez-vous nous parler d’une exposition récente ou d’un projet sur lequel vous avez travaillé ? « À l’Ombre des Arbres » est ma première exposition solo à Paris. Le point de départ de cette série est l’une des mes peintures préférées de l’artiste Henri Matisse Les joueurs de boules. C’est la trace et l’émotion laissée par cette peinture que j’essaie de traduire dans ces œuvres. J’invite les spectateurs à apprécier la richesse des moments simples de la vie, à célébrer la force des liens humains et à s’émerveiller devant la magie discrète du quotidien. Ces peintures sont un hommage à la lumière et à la beauté de l’instant présent. Elles sont comme la trace d’un souvenir d’été. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/18daa3a0-0613-4cb4-bad0-b9ca513ff87d/Bimbam_Gallery_Simon_Demeuter_13.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres - Comment percevez-vous la réaction du public face à vos œuvres ? Y a-t-il une œuvre en particulier qui a suscité des réactions inattendues ? J’aime bien entendre les réactions des visiteurs. C’est important car ce sont leurs regards aussi qui font exister les peintures. Bien sûr certains avis comptent plus que d’autres. Quelque part on attend toujours la validation des gens que l’on admire ou qui comptent pour nous. J’ai toujours eu des réactions très bienveillantes jusqu’à maintenant. Ça booste et ça motive à continuer. J’aime quand quelqu’un voit autre chose que moi dans mes peintures. Il n’y pas que ma lecture qui compte. Celle des autres est toute aussi importante et enrichit les peintures et moi-même. Après on ne peut pas plaire à tout le monde mais c’est normal. Il faut l’accepter et continuer. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273516324-9QZXSUQ840PDIMWP7B2O/2601_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273964920-8QNQFG5HF5DDRSCPHG1A/2601_detail_IMG_2779.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273519366-XMQSUU1493U5VS92T98X/2605_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273986198-2DZD9ZL420NKHSFRCNLN/Bimbam_Gallery_Simon_Demeuter_11.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273524542-17ZPLE2LF5JRUWIBUIDN/2601_detail_IMG_2779.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273993027-8IDJ57CA3KN5LL5WQ9ZP/2604_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273526560-1BFZEHA3KFXFLOIXEBLE/2602_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273531476-6I88NV6VTQOP5D5FZT2Q/2602_detail_IMG_2685.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273533182-ZYZP6NQHR8VXFIJ0J3Q1/2603_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273537996-PNDTB8RWMXYE9ZJDSF5O/2603_detail_IMG_2746.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273540210-9QHZQQG9LPG0DN4Y5AE9/2604_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273544736-JYU2RTX0OXPJVFP8NUR4/2604_detail_IMG_2771.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273548960-6OZCFU0G6QIVQZD6YUZF/2606_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273554273-PB2TOJIZ47G3VSTA1I3J/2607_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273558431-O14SEUT7U8MGYN5SC1ST/2607_detail_IMG_2717.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273558243-2LGQ7ZCQHKSOYQR8LFLB/2608_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273570848-JL14C2QU6X2CH4ZMI0GV/2609_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273569421-40JN2133XZQDLQBSPOZC/2610_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273578710-2UML9ZGR827CMKTFYWYK/2611_0_horizontal.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273578031-05F53OXLXZ1J3M6EIE7Y/Bimbam_Gallery_Simon_Demeuter_15.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273585883-12MHOPKLRUP8NZDTZS9J/Bimbam_Gallery_Simon_Demeuter_09.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1718273586639-GCI2TQ96F3737EFMOI81/Bimbam_Gallery_Simon_Demeuter_04.jpg Interview - Simon Demeuter : L'Art de Révéler l'Invisible à Travers Ses Œuvres https://www.attaly.fr/interview/b6xdujpvpnohgn6s0i3s8sdklzw92v monthly 0.5 2024-09-17 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/2755df11-816e-4029-bf83-4e8d9f4c2c3e/Almendra_bertoni_in_her_studio.jpeg Interview - In the studio with Almendra Bertoni - Almendra, throughout your career, what do you consider your most significant milestones, and how have they shaped your journey as an artist ? There are two milestones I'd like to highlight. Without sounding too braggadocious, my 2023 solo show catapulted me into what I would like to believe, a more refined artistry. I was proud of every single artwork in that room. It fulfilled my soul knowing everyone came out just to see my work. It informed the way I work today. When I do a group show, now I'm very cautious of the narrative and relationship everyone’s work will have with each other. The other milestone, not to sound pretentious, is showing up everyday. Regardless if it’s just to cry in the studio, I'm there. Betting on myself daily even when I feel like shit is the real glory, it’s more than any single exhibition can grant me. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/76c2c691-a4a9-465f-ac42-1e1e1e6a2052/Works_by_Almendra_Bertoni.jpeg Interview - In the studio with Almendra Bertoni - What is one of the biggest challenges you've faced in creating your art, and how did you overcome it ? Monetizing my practice while experimenting has been challenging to say the least. It’s very vulnerable trying new things out publicly. There’s the fear of it not performing well? What if they don’t like it? It sounds like I'm riddled with insecurities but I still wake up everyday and get to my studio knowing very well I'm doing amazing. I don’t know if i can say i’ve overcome the insecurities but i can say that i just show up everyday, regardless of how i’m feeling. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/5689b80a-3f3b-4e1b-aa24-c484972c85e7/Madonna+and+Whore+by+Almendra+Bertoni.png Interview - In the studio with Almendra Bertoni - How does your taste in music influence your creative process? Could you share a few artists or albums that have been particularly influential ? In Rainbows by Radiohead is my go to album for when I got to give it my all in the studio. It starts off super up-beat with “15 Step” and ends off melancholic with my favorite song of all time “Videotape”. I grew up listening to Bjork so i enjoy throwing her on as well but mainly i’m throwing on youtube videos. Most recently for a change I've been painting to the anime NANA. I’m sooooo hooked. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716911140781-Q11R6Q7S98UOMDDYO22W/image_123650291.JPG Interview - In the studio with Almendra Bertoni https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716911146849-X2B9YVMUL1JWCFH010BF/IMG_1078.JPG Interview - In the studio with Almendra Bertoni https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716911157567-S96HNHEQ9LSZFAK9T7OI/Madonna+and+Whore.png Interview - In the studio with Almendra Bertoni https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716911154188-ZWV17VB3MLWRMV6GBKAN/IMG_1029.JPG Interview - In the studio with Almendra Bertoni https://www.attaly.fr/interview/b536tz1vn4hgwkfek1jrvjl2pn2ryb monthly 0.5 2024-09-17 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/74a908ad-434a-4ff0-b904-0731c97b198f/studio+portrait+tim+brawner_2.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life - Can you tell us about your childhood in Omaha and how it influenced your artistic vision ? I think the biggest effect growing up in Omaha had on me was the sense of cultural deprivation. Deprivation in general too, the people there are non demonstrative and could uncharitably be described as cold. I think it's the landscape. There's currently a large migration within the American midwest, and most of my family there has left Nebraska for Minnesota. Everyone's mood and outlook seems to have improved. I think that can partially be attributed to the chromatic malnutrition you encounter in parts of the Great Plains. Nebraska's landscape is constantly withholding. There is only the mesmeric sway of brown fields caught in the occasional eddy, and that same grass inevitably swallows any landmark that rises out of it (Chimney Rock was once a beacon for those on the Oregon Trail that now only retreats further into the loam every year). You spend ages waiting for something to appear in that landscape, for somebody to do something. It eventually made me look away. Any multicolor glossy publication or monitor screen pulled my focus. I became like a termite. I would dig through stacks of magazines and comics in the library for any kind of illustration or panel that would shock or confuse me. Sometimes as a little delinquent I would even clip out the images and save them under my bed frame at home. It gave me a peculiar and intense relationship with all media. I think back on my childhood and the personal interactions and details only become more vague as time passes, but I can tell you quite a bit about what I watched and read. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/42d87c6e-b279-4e68-8ca1-6d26fc62f0d3/works+by+Tim+Brawner+%282%29.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life - Which artists or art movements have had the most significant influence on your work ? When I was growing up my parents had two art books in the home, one on Norman Rockwell and one on Picasso. I copied a lot from those books. I was in public school too, so around age twelve I made friends with kids who had hippie stoner parents and I began to find underground comix and artists like Robert Crumb, Richard Corben, and Tanino Liberatore. If, by then, I was too young then to discover those artists then I was certainly too young to discover Suehiro Maruo too, but the developing blogosphere made that introduction possible. Early in high school I also discovered the YBAs and the Chapman Brothers, and I also finally saw works by artists I loved like Ivan Albright, Otto Dix, and George Grosz during childhood vacations to Chicago and Des Moines where my family would indulge me with trips to museums. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/2b94c846-a063-484b-a8f8-eff74270cc3c/VonAmmonCo_TimBrawner_inventory-8+%281%29.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life - Nature seems to play an important role in your works. Can you explain how and why you incorporate it into your art ? Nature featured more heavily in some of my earlier work. At the time I was thinking of American folklore and mythology, painting encounters with chimeras and monsters in the woods, which I thought made for interesting subject matter in a country where cryptid and UFO sightings function as an ersatz for the biblical image of the spirit revealing itself in the wilderness, the experience of which performs the same social function that any spirit journey does of ritual passage into selfhood. Another nature theme that still persists in the work is animality. This, like horror imagery, I think of in terms of communicating an affective quality and a kind of intuition, rather than playing it straight. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8b852a84-d8cb-4871-996b-5fbb7c10c762/Works+by+Tim+Brawner+%282%29.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life - What role do you think art plays in understanding personal identity and the human condition ? For me, art in its most basic sense is anything that, by itself, points outside of the material world and towards subjectivity. I prefer artists who can't help but reveal themselves in their work, and who do so without any vanity or fear. I think art is best when it coincides with obsession and fetish as well. While I don't believe in reducing art to an excretion of the subconsciousness, I do think one of the benefits of art is that it can be analyzed forensically, to study the subjectivity that produced it, as well as the society that produced the artist. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/de9000bf-9876-4a13-ab49-71ab8d3437c4/Tim+Brawner%2C+The+Escape+III%2C+2023.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life - How did you develop your technique of blending abstraction, realism, and symbolism ? That's difficult. I'm not sure I think about executing certain elements of a painting in an abstract way, or a realistic way, or symbolic way. I think perhaps I have a higher degree of openness than some when it comes to what kind of visual content I consume, and I don't discriminate when it comes to genre or convention. Perhaps this tendency reappears when I'm working without me noticing it. The final images for paintings tend to go through extensive drafting, and the stylistic incongruities are also maybe the result of stubborn artifacts left over from previous iterations. I try to preserve some of those moments selectively. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d3241d39-8e19-48c4-a066-ddeb0fcd53b8/VonAmmonCo_TimBrawner_inventory-20.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life - Can you talk about your involvement in art education and what you hope to impart to your students ? I have a strong desire to teach. I think I'm good at it. My mom was an educator and I have a deep respect for the profession. I haven't really taught since I was a TA in graduate school. I got a lot of joy out of talking to students. I have a basic pedagogical approach for teaching depending on the level of experience in the class and the subject I'm teaching, but I mostly try hard to replicate the same things my professors did for me. My favorite professors tried to understand my creative interests and motivations without judgment and exposed me to art that they hoped would give me a sense of direction. If a student leaves a class with a sense of direction and purpose in their work I think that's more important than arriving at a highly polished art object, if they're dedicated that comes naturally. In undergrad I had a professor named David Gracie who really gave me a crash course in art by sending me home with a different artist's monograph from his personal library every week based on his reaction to whatever assignment I turned in. I think students need to feel like you see what they're doing and that you're taking their potential seriously in order to develop in the arts. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303305349-4IEVUPQZNCF0A5RU2CXM/VonAmmonCo_TimBrawner_inventory-20.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303271445-W0CH11X3U36TGEWQK2IA/studio+portrait_2.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303260388-4Z7C6QT3PKE73UTA872D/06+%282%29.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303272722-HXUYJDAD82NSPWL4D5CX/Tim+Brawner%2C+Character+Head+1%2C+2023.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303262358-R5MPX5TSAKMMQECA8I87/01+%282%29.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303508927-CNK6NVPZ4CZ1RTOXNLZ6/VonAmmonCo_TimBrawner_inventory-20.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303554608-VJZ6IQNL05JW9HH0UG9Y/VonAmmonCo_TimBrawner_inventory-8.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303284876-0ZFHZUPTY6TRDRZV21EF/Tim+Brawner%2C+Character+Head+2%2C+2023.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1716303288285-2A78K88W20ROQF4HIV8Y/Tim+Brawner%2C+The+Escape+III%2C+2023.jpg Interview - Tim Brawner: The Visionary Artist Unveiling the Hidden Beauty of Everyday Life https://www.attaly.fr/interview/i9764hupw3cz7ktnqdlah3xhuglg97 monthly 0.5 2024-09-23 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/ae317a01-0c9a-41ae-8c98-66b46461e11f/portrait_aryo_toh_djodjo.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural - Aryo, your paintings blend the everyday with the extraordinary, especially through the inclusion of UFOs. What initially drew you to explore ufology and the supernatural within your art ? I fell in the rabbit hole of ufology right before the pandemic. I was interested in how some of it was tied into spirituality. The idea that they’ve always been here trying to guide us and help us evolve seemed rad. When I first started painting with the airbrush, as a joke, I placed a ufo in one of my landscape paintings. I did that for awhile and soon after I thought to myself that they sort of reminded me of religious paintings that I saw in museums. Eventually I started putting them in all of my paintings. I figured it would be a good way to grab the viewer’s attention so that they might ask themselves questions about our place in the cosmos. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/71d348f0-e1ee-48f7-9780-7e1c5760e722/Works+by+aryo+toh+djodjo.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural - You've cited a range of artists, from Gerhard Richter to Ed Ruscha, as influences. How do each of these artists inform your work, and is there a piece of theirs that particularly resonates with you ? I’ve always liked Richter’s landscape paintings. The quietness about them resonated with me. And for me Ruscha’s works had the California cool and witty vibe to them. I just thought why not try and mash the two ideas in my paintings and see what happens. Haha. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d9331095-0258-496d-89a0-6ddd415a8f8b/Works+by+aryo+toh+djodjo.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural - Your airbrushing technique is central to your artistic process. Could you share more about your journey in mastering this medium? What challenges and triumphs have you encountered along the way? I’ve only been painting with the airbrush for a few years now. I started using it during the pandemic. I think when the world stopped, It gave me a lot of time to work with the tool. I don’t think I’ve mastered it and I don’t think I ever will. Like I said, I love the challenge. I think once I’ve mastered it, you won’t see anymore airbrush paintings from me. Haha. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d9d0bd58-6f47-4cc9-844a-2f44235588a3/Works+by+aryo+toh+djodjo.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural - Your pieces, like “Tempted to Touch” and “Contact High,” juxtapose intimate human moments with hints of otherworldly presence. What narratives or symbolic meanings are you aiming to convey through these juxtapositions ? A lot of people have said they feel a familiarity to the works. A past experience or a memory that they might have had. But they also question if it actually happened to them or not. I’d like to think we’re all part of one big collective consciousness and that might be the reason why my work does that. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1e179b22-751f-4061-8a75-7bffe64a3820/View+of+the+show+of+Aryo+Toh+Djodjo+at+stems+gallery+paris.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural - Your deep dive into ufology has led you to explore how extraterrestrial beings influence religions and belief systems. How has this exploration affected your personal beliefs and philosophies ? That we don’t know everything and that it can be a good thing. To humble ourselves and to know that the universe and how it reacts is beyond our control. To remember to enjoy life’s mysteries. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/aef3c95a-4db9-4aec-b5ee-0f4fac21d9d4/Work+of+aryo+tohd+djodjo+at+his+show+at+stems+gallery.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural - Your paintings are described as cinematic, capturing daily life scenes with a twist. How does cinema influence your work, and are there any films or directors that inspire you ? I like how cinema can take you somewhere visually. But with cinema you’re kind of guided to feel a certain way. Painting is a little open ended. It’s constantly exciting. One day it can be boring and the next day it can make you feel a certain way. And vice versa. In terms of films and directors that inspire me, there’s too many to mention. Haha https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715871465162-TLKUADTQV0J0GZQGL72B/AT-070-compressed+%281%29.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715871438027-4GCEHNYLLPYL8RKGDBT7/_DSC0933-compressed.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715871421874-2BU847K012GIZOZGMIYO/AT-059-compressed+%281%29.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715871439221-DGJM4XMLRPAUZP3UXQVG/_DSC0925-compressed.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715871447066-1LNZ94FBYUETXACCX5NH/AT-067-compressed.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715871497571-RKN8GW3OWIP3120BKWAI/_DSC0950-compressed.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715871418138-0010C5QDIJJTI2MVGHFY/AT-061-compressed.jpg Interview - Artistic Odyssey into the Unknown: An Interview with Aryo, the artist merging everyday life with the supernatural https://www.attaly.fr/interview/pauline-guerrier-nous-prsente-heterotopia-son-dernier-solo-show-la-galerie-romero-paprocki monthly 0.5 2024-09-25 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/6f6651dd-5317-4f43-8dcd-6da9eea8037d/Pauline+Guerrier+dans+son+atelier.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” - Quelle inspiration se cache derrière le thème "Heterotopia" pour votre exposition solo à la galerie Romero Paprocki ? La thématique de cette exposition a débuté lorsque Sibylle De Tavernost m’a proposé de collaborer avec elle sur l’idée d’une production de tapisseries. Comme à mon habitude, à la découverte d’un nouveau médium, je cherche souvent la source qui correspond à ce médium, l’origine de son histoire et son développement. C’est ainsi que j’ai découvert que les premiers tapis dont nous avions la trace étaient des tapis perses qui représentaient des jardins. Pourquoi ? Car les hommes de cette époque n’avaient pas les moyens d’en avoir et se faisaient broder des jardins immortels sur lesquels ils marchaient. La thématique de cette exposition parle d’une recherche de ce que seraient devenus ces jardins imaginés aujourd'hui avec les changements du monde, l’état écologique de la terre et aussi l’état de croyance du monde. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/5d299537-ce78-4ca7-aedd-c98ff0ddbfab/Vue+de+l%27exposition+heterotopia+par+Pauline+Guerrier+%C3%A0+la+Galerie+Romero+Paprocki.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” - Comment les matériaux que vous choisissez contribuent-ils aux messages que vous souhaitez transmettre à travers vos œuvres ? Le choix des matériaux est directement lié au sujet. Il influence aussi le sujet. En général, je choisis le matériau qui correspond le plus à ce que j’ai envie de raconter, même si cela nécessite d’apprendre une nouvelle technique. C’est pour cela que j’ai abordé aussi bien le vitrail, la tapisserie, la broderie, la marqueterie, le soufflage de verre. J’ai beaucoup de cordes à mon arc puisque c’est toujours une relation très charnelle entre le sujet et la matière elle-même. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/e8583955-e714-4e5c-ad71-6350a985ccdf/Pauline+guerrier+dans+son+atelier.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” - Quel rôle jouent les savoirs ancestraux dans votre processus créatif et comment se manifestent-ils dans vos travaux récents ? À travers mes voyages, j’ai pu constater que les savoir-faire, chargés d'histoire à travers le monde, reflètent ce qui nous reste de notre passé dans les matériaux et l'artisanat qui constituent nos patrimoines. En utilisant ces matériaux et ces savoir-faire ancestraux aujourd'hui, j'ai l'impression qu'il est possible de parler du temps écoulé, de raconter l'histoire de manière générale, et de s'inscrire dans un patrimoine à la fois vivant et immortel. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/63e8043c-8b9f-4c17-b294-f457adc5f1e2/Vue+de+l%27exposition+Heterotopia+de+Pauline+Guerrier+%C3%A0+la+Galerie+Romero+Paprocki Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” - Quels défis avez-vous rencontrés lors de la préparation de l'exposition "Heterotopia" et comment les avez-vous surmontés ? Le défi majeur a été la durée de création des pièces, qui s'élève à environ 3 mois. La problématique principale a été due au climat actuel à la frontière du Népal et de l'Inde, car lorsqu’il a été question de teindre les laines pour pouvoir ensuite les tisser, nous étions en pleine période de mousson et les laines ne séchaient pas. Nous avons dû attendre que les matières sèchent pour pouvoir les travailler au métier à tisser, posant ainsi la question de pouvoir exposer ces pièces en temps voulu. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1426c573-165e-4a68-b28b-b30aa205b43b/Vue+de+l%27exposition+Heterotopia+de+Pauline+Guerrier+%C3%A0+la+Galerie+Romero+Paprocki Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” - Votre travail implique souvent un processus collaboratif avec des artisans. Pouvez-vous nous parler de collaborations qui ont joué un rôle significatif dans cette exposition ? Ici, il s’agit d’une transmission de mon dessin à des maîtres de savoir-faire, des tisserands situés entre le Népal et l’Inde. Ce qui est intéressant pour moi, à travers cette recherche, c’est de sacraliser le travail de la main. En parallèle, on trouve aussi le travail de la marqueterie de paille, une technique que je travaille depuis maintenant 4 ans en collaboration avec des marqueteurs. Ensemble, nous réalisons ces pièces qui partent de mes dessins et qu’on remplit progressivement de paille. Ce que j’aime dans cette technique, c’est la paille et ce savoir-faire qui viennent directement des agriculteurs puisqu’elle a été inventé par eux dans l’idée de copier la marqueterie de bois qu’on trouvait dans la bourgeoisie. C’est dans cette idée de créativité et de génie de l’observation qu’ils ont pu remarquer la beauté de la paille dans toute la pauvreté que représente ce matériau. C’est ça qui me plait énormément : la force de ce médium. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/ff921c22-effb-4306-bd41-9307c3c65c49/Vue+de+l%27exposition+Heterotopia+de+Pauline+Guerrier+%C3%A0+la+Galerie+Romero+Paprocki Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” - Quels retours des visiteurs vous ont le plus marqué lors de l'ouverture de cette exposition ? Curieusement, c’est la joie procurée par ces pièces. J’ai observé des visiteurs heureux de découvrir ces couleurs, qui ont immédiatement compris qu’il ne s’agissait pas d’un message pessimiste, mais plutôt d’un message d’espoir. Cette exposition évoque la réalité douloureuse d’un monde où, comme je le décris, les hommes se sont pris pour Dieu, illustrant la dérive de notre monde où les hommes pensent pouvoir être les dieux et les maîtres de tout. L'exposition porte une réflexion mélancolique sur ce que le monde pouvait être lorsqu'il était libre. J’espère que ce message de respect et d’émerveillement imprègne l'exposition. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692685150-ODSWU7NQJEZH5L5KZT30/Heterotopia_1.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692682134-E2QFL2AVIKVCHBH0BP2V/IMG_5348-Modifier.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692702956-F0ELIWK12V4IOLIJG06W/IMG_3644-Modifier+2222.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692698851-2X3IY6K9KHH8GFGTKYGJ/IMG_5323-Modifier.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692714801-XT6645LDKS18GE12I4FE/IMG_3664-Modifier+560.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692716440-833DWJ5JUXMSMHICF1VK/IMG_5330-Modifier.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692729830-FO1ZEV09LELUFXQQ82GU/IMG_3676-Modifier+5166.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692727645-RE1HODA1OODUPRMH64AI/IMG_5333-Modifier-2.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692746839-YRWZX9O0ULOBPKV8G3HI/IMG_3492+2113.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692740881-DH6342ACPPLZZGR66O1W/Heterotopia_2.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692759074-MBAI7J2O1RTEEXFXENLV/IMG_3474+3105.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692766722-2FWQPAYEOW4S9TYA41WU/IMG_3778.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1715692780900-NDF2WQWSF6IV01DSZF8E/IMG_3697+795.jpg Interview - Pauline Guerrier à la Galerie Romero Paprocki : une plongée dans “Heterotopia” https://www.attaly.fr/interview/ofpqrbukkw0g35tsvtjd53gchryok6 monthly 0.5 2024-09-25 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/c7cc18fd-a49f-4389-a180-71b088d81e18/Kim+westfall+in+her+studio Interview - Kim Westfall : Capturing the Transient with Allouche Benias Gallery - Can you share a bit about your background and how you got started in the world of contemporary art? I never formally trained in weaving but I’ve always been drawn to the materiality of yarn and fabric. Painting really influenced the way I approach making work. My work focuses on history and memory and how these constructions are narrativized in my birth country, Korea and my home in the United States. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/005b701b-67a4-4790-bdf4-1e6a4c2bbfc3/Kim+Westfall+work%27s+during+her+show+at+allouche+benias+Gallery Interview - Kim Westfall : Capturing the Transient with Allouche Benias Gallery - How would you describe your artistic style and the themes you explore in your work ? I try to portray observations and perspectives on Korea as someone born there, sent away, and then returning. In many ways I feel I am always in transit, never at rest in a single place. Korea is constantly tearing down, rebuilding, and rewriting their past. History feels malleable and ephemeral but I see traces of this history in the landscape. It often feels like there was never a Korean history. My work is an alternate record of what it feels like to be there. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/100d1e60-1847-48bb-b5f7-c949d646a084/Kim+Westfall%2C+%27Untitled%27%2C+2023%2C+Tufted+organza+ribbon%2C+114.3+x+127+cm%2C+45+x+50+in.jpg Interview - Kim Westfall : Capturing the Transient with Allouche Benias Gallery - Can you walk us through your creative process from concept to completion of a piece ? I work from an ongoing archive of personal images I take and collect while traveling in Korea. I visit American/America-effected places and locations related to my life. I reference this archive for all my work, layering different time periods together. There is a theme of repetition in my work, looking at something multiple times, traveling the same flight path over and over, New York to Korea and back again like a spiral. The tufting process is a negotiation, layering ribbons and sculpting the tableau. Sometimes I will follow my original vision but oftentimes I am ripping out hours of work and starting again. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/5584ff4f-447f-413a-99fe-1f4455d4fb59/Kim+Westfall+Work%27s+during+her+show+at+allouche+benias+gallery Interview - Kim Westfall : Capturing the Transient with Allouche Benias Gallery - Do you have a favorite project or piece that holds special meaning to you ? If so, can you tell us about it ? DMZ Checkpoint exhibition. My work was installed in a decommissioned US army base in the Korean demilitarized zone; specifically in a historical exhibit of a US army officer’s living quarters. I exhibited one of my first hand tufted pieces from 2015 and a sculptural work inspired by a cafe I used to frequent in Daejeon, Korea. The piece is called Spicy Memory, and it is a record made of resin, scraps of ribbon from my studio, red pepper flakes (gochugaru) and my torn up adoption documents. The record spins without the player’s stylus making contact, but the songs “Geisha Girl” by Hank Locklin and “We’ll Meet Again” by Vera Lynn play from an unseen source. The unintended effect of the time loop between Spicy Memory 2023, My Eyes are Down Here 2015, and the historical recreations of the army officer’s quarters (camouflage jackets, bed, pinup girls, boots, internal documents) created confusion about what was the historical exhibit and what were art objects. This confusion mirrors many of my experiences in Korea regarding surfaces that present as true (not necessarily convincingly) and obvious lies that people pretend to be true. While not specific to Korea, I find the contrast more stark and personal there. It’s difficult to describe in words, I can only speculate through my work. I enjoyed how my work was absorbed into the historical exhibit and now that it’s deinstalled and back in New York, it’s charged up with the DMZ. It really transformed the way I think about my work, and it was an honor to show with so many great artists. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/423c5b3a-f5cc-4440-9bbd-a9a2ea21c2dc/Kim+Westfall%2C+%27Lounging+in+the+Punchbowl%27%2C+2023%2C+Tufted+organza+ribbon%2C+146.05+x+193.04+cm%2C+57.5+x+76+in.jpg Interview - Kim Westfall : Capturing the Transient with Allouche Benias Gallery - Have you noticed any changes or evolution in your artistic style over the years ? If so, what influenced those changes ? I started hand tufting iconographic images in red white and blue. I found this book in a Japanese bookstore called “America FAQ” that flatly explained American cliches like blue jeans, cowboys, and racism. I was interested in this exterior perspective on being American. The inherent violence of cuteness and how this intersected with women and legacies of soft power were also interesting to me. Then I got the gun. It really transformed my ability to free draw so the pieces increased in scale and depth. The gun made it easier to think of the work in painterly terms vs textile grids. I think tufting with the gun is the most natural way to make a painterly image. I continued to develop these ideas from this alienated perspective after traveling and living in Korea. I’ve gone to weddings, funerals, I’ve gone blind and I’ve broken out in hives. These days, I am interested in the construction of national memory and historical narrative and how this is shaped by war and women. I love the school uniforms as an intersection between the military and femininity. I wore a box pleated skirt all through catholic high school, a sunray pleated skirt as a cheerleader. I bought a plaid pleated skirt for a Halloween costume and it’s worked it’s way in to my everyday wardrobe. I shoot pleated ribbon through a gun to make images of women. The skirt’s been with me a long time. https://www.attaly.fr/interview/harmonies-unveiled-a-candid-conversation-with-laust-hjgaard-7x8le-75gh6-5835k monthly 0.5 2024-04-23 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1a99dcba-2253-401b-9155-d7e175dd73bf/Photo+27.03.2024.%2C+18+03+16.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - Can you describe your early influences and what led you to pursue a career in the art world? My earliest influence was skateboarding. Board and t-shirt graphics, magazine ads, and the whole vibe around it that got me interested in visual art. I actually never “decided” to pursue a career in the art world, but instead, things just organically developed that way. From being active on online forums, contributing to different blogs, websites, and magazines, to now being a full-time freelance curator and writer. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/73717855-b607-41a7-bad7-494a825cd5c2/Melancholympics+at+Wunderwall%2C+Antwerp.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - What inspired you to curate the "Melancholympics" exhibition, and how did you select the artists involved? Melancholympics was inspired by the general atmosphere in the world during the early months of the Covid-19 pandemic. The artists responded differently to that moment in time, but I felt like melancholy came up to the surface of many works made around that time, so I tried to pick a few examples of where that’s happening. I wanted to give it a bit more positive undertone, hence the title, which would suggest it's an exciting activity. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/cd860988-119f-48ce-b1da-bae33e3e653a/Objecting+Reality+at+WOAW%2C+HK.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - Could you walk us through the concept and execution of the "Universes 3" exhibition at WOAW Gallery in Hong Kong? Universes 3 was part of the Universes series that started with a show in Imola, Italy back in 2018 and had the last iteration with Universes 5 in NYC in 2022. All those shows revolved around showcasing artists whose work revolves around creating their own universe, either by portraying a distinctive cast of characters or setting or re-creating reality through a particular filter. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/bdb21518-3e01-4136-a37a-99f5f6d4656b/Domesticity+at+Volery+Gallery%2C+Dubai.jpeg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - What were some of the unique challenges and rewards of curating the "Domesticity" exhibition at Volery Gallery? Domesticity was the inaugural show of the Volery Gallery in Dubai, and it was also an exhibition influenced by the atmosphere of the pandemic and the shift of life towards domestic environments. Working in that region for the first time, I was wondering how the work that was produced mostly in Europe or the US would get received there, but it was rewarding to see how well the people responded to it. Also, in that show, we had Guy Yanai from Israel, which, I was told, was the first time that an Israeli artist was showing in an Arabic country. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/eece379a-ee67-4330-91ed-2db698a46035/The+Distance+Between+at+BC+Gallery%2C+Berlin.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - In projects like "The Distance Between" at BC Gallery, what was your primary goal, and do you feel it was achieved? The theme of The Distance Between was to reflect on the ongoing refugee crisis globally and the different shapes of distance it creates between people. The artists in that show already worked around that subject so it felt only fitting for them to be part of it. I think they did a fantastic job with the works that were included, particularly with the big installation that was built at the gallery as a collaborative piece between Icy & Sot (Iran), Know Hope / Addam Yekutieli (Israel), and Eron (Italy). I felt it extra rewarding and meaningful to have artists from Iran and Israel collaborating on a single work and the exhibition as a whole. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4c5968c6-de6c-40cf-9007-ae04b0eb4991/Tilo+Baumgartel+at+Drents+Museum%2C+Assen.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - How do you measure the success of an exhibition, both in terms of audience reception and artistic fulfillment? That Is a good question. My first measure is how I feel about it. About the selection of the works and names we get to include and the way it looks in space. Then there is the whole process of putting it together and how smoothly it went with everyone involved. Then there is the response we get from the visitors, collectors, media, artists, and everyone that might have noticed the show and felt like responding to it in some way. Finally, there is the financial side of selling the work, which isn’t a popular subject to speak about, but it’s an essential part of the whole ecosystem as it fuels its dynamics. All of those combined will add to how I “measure” the success of an exhibition. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/2351d559-e389-4835-9949-c45053153e52/Capture+d%E2%80%99e%CC%81cran+2024-04-22+a%CC%80+16.42.44.png Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - Have there been any particularly influential or transformative collaborations with artists that have shaped your curatorial practices? Yeah definitely, some of the solo shows I curated with Julio Anaya Cabanding or Evgen Čopi Gorišek were especially rewarding. Or the museum show I did with Tilo Baumgartel at the Drents Museum in The Netherlands. Also, with time, I’m getting more interested in breaking away from “just” hanging paintings in a white cube space, so the installations like Universes 5 at The Hole or the recent Objecting Reality at WOAW in HK were particularly exciting. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d63f0959-1c6b-4120-aadd-f9a36e54aeb5/sean_norvet_amala5.JPG Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - What is the significance of location when you plan an exhibition, and how did this influence shows like "High on Stress" in Tokyo? Sometimes, the location can add a little bit to the way the show looks or feels, but for Sean Norvet’s Japan solo debut, that wasn’t the case. Perhaps he was influenced by it to some extent, but it was never something we discussed or expressed. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/276c4706-0236-4074-bdf6-bfb991b07736/Capture+d%E2%80%99e%CC%81cran+2024-04-22+a%CC%80+16.51.41.png Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art - What attracted you to the CAN Art Fair in Ibiza, and how does this setting influence the type of art and artists you select? I’ve been the curator of the fair since its start in 2022 and was initially attracted by the challenge and the opportunity to work on a project of such scale. Also, being surrounded by a motivated and capable team was definitely something that won me. As for for the artist selection, the setting of an art fair provides a chance to speak to the galleries directly about their roster and choose the right combination that would fit what the gallery wants to present and what the fair wants to present. If you meant the setting of an island, I don’t think that is influencing the selection of art or artists that we’re showing. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798002491-3KT2LML7A142LL930AWU/Domesticity+at+Volery+Gallery%2C+Dubai.jpeg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798010984-UHB49PEVSHZRC13MU71O/Universes+5+at+The+Hole%2C+NYC.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798008094-RAIWYLPKRWEILVWFKMC8/Julio+Anaya+Cabanding+at+Tales+of+Art%2C+Imola.jpeg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798010335-4L9QH3GOTWKGHA2EFJL9/Objecting+Reality+at+WOAW%2C+HK.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798015548-WPEBXU2DQ6GZYKFP5IBH/Melancholympics+at+Wunderwall%2C+Antwerp.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798026140-O761RGSOPDQYWE4WIH7E/Universes+3+at+WOAW%2C+HK.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798024951-GIE37IY5NKF6N85WM52Z/Tilo+Baumgartel+at+Drents+Museum%2C+Assen.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798031143-OVBAKZ5N621LZGQJDQFZ/The+Distance+Between+at+BC+Gallery%2C+Berlin.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798031221-Z98BMA78FAKX3MXRRGO9/Photo+27.03.2024.%2C+18+03+16.jpg Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1713798073451-15W7J9RCP1OSVXISGNY9/Capture+d%E2%80%99e%CC%81cran+2024-04-22+a%CC%80+16.42.44.png Interview - Curating Connections : Sasa Bogojev’s Global Influence on Contemporary Art https://www.attaly.fr/interview/harmonies-unveiled-a-candid-conversation-with-laust-hjgaard-7x8le-75gh6-fd74g monthly 0.5 2024-04-03 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/51e543c1-7a3e-4907-8e93-bfdb1fb72428/IMG_7587.jpg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki - Pouvez-vous nous parler de votre parcours artistique et de la manière dont vous êtes entré dans le monde de l’art ? Vers 13-14 ans, j'ai commencé à taguer et ça m'a amené sur un chemin artistique. À la suite de la découverte du tag, j'ai commencé à avoir des crews dont PAL avec des amis avec lesquels j'arpentais les rues de Paris pour taguer et marquer mon nom. Le tag est lié à l'univers urbain. C'est pour cela que mon travail a une connotation urbaine. Par la suite j'ai fait l'école Boulle et les Beaux-Arts de Lyon donc j'ai eu un cursus parallèle. Je me considère comme un tagueur ce qui n'a ri en à voir avec un street artist, je mets en avant la signature, le vandalisme, l’aspect illégal est important dans cette pratique-là et fais son essence. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/04711b14-447d-4f3f-b78f-777f372f5c16/09.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki - Quels matériaux et techniques préférez-vous utiliser dans votre art, et pourquoi avez-vous choisi ces éléments spécifiques ? Par exemple, les matériaux que j'ai utilisés pour l'exposition « BAD EMS » sont essentiellement de la résine, du plâtre et de la mousse expansive. La mousse expansive est un matériau de construction qu'on trouve à peu près partout. En fait, elle a été utilisée parce que je cherchais quelque chose de léger, qui soit très rapide à utiliser et qui ressemble en fait à la bombe de spray. Il y a beaucoup de similitudes sur ce tracé, sur cette manière d'utiliser la bombe et donc c'était pour moi un lien évident. Je voulais vraiment créer des masques qui seraient en fait portés pendant une performance et donc chercher quelque chose de léger à porter sur le visage des danseurs. Ce côté très brut de la mousse expansive me plaît et en même temps il y a une sorte de candeur avec les couleurs qui lui ramène une forme de légèreté, un côté un peu « Eye candy ». https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/436d30f7-8184-4f21-a043-707ee70df54b/02.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki - Comment la culture et l'environnement qui vous entourent influencent-ils votre art ? Mon travail s’ancre dans un rapport historique et se confronte avec notre monde contemporain. Il y a souvent des allusions à l'histoire, à l'archéologie, à la recherche documentaire, se transfère sur notre monde contemporain, sur ce que je ressens en 2024. En tant que parisien je suis influencé par la culture urbaine de ma ville. Son stress, sa mixité social, son architecture, son histoire. J’essaye donc de mixer, ces différentes époques, différents temps, de les remixer pour pouvoir me créer ma fiction urbaine. C'est dans cette fiction-là, que je viens créer, que je crée ma cosmogonie où je viens créer des personnages influencés aussi de la science-fiction des années 70, 80, 90. Je suis né en 1987 donc toutes les années 90 ont été énormément de choses auxquelles je me référence que ce soit aussi bien dans les dans les animés Akira de Otomo ou bien de la série de films Terminators. Les oeuvres présentant des mondes dystopique, ressortent très fortement dans mon travail. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139485962-BYKAYSUGKWV7VDHDP7UD/01.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139494072-38J9912EJ564J0745PJC/02.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139499547-GPFL40ADEAL5WXGM7PXP/06.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139496160-66SVZRCTSH6XR4MIOSBY/03.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139497445-5AB68YWS1XEQXAZUCKV3/05.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139484587-HENOT6VLB4JOZQ6P4YCT/09.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139498398-VVBG35UBLRKFHFAQJC0Z/04.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139500316-1F18SSMYRNSPGG0THW1Q/07.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139500733-RGXCPV7JZLZ5TKNFFZ7C/08.jpeg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1712139967563-WTJZ5EEH7RVPOQM36UOO/1A2D9748-829A-49B7-8302-36AD49D35857_1340_c.jpg Interview - Entretien avec Alexandre Bavard (Mosa) lors de son exposition “BAD EMS” chez Romero Paprocki https://www.attaly.fr/interview/harmonies-unveiled-a-candid-conversation-with-laust-hjgaard-7x8le-75gh6 monthly 0.5 2024-04-02 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/211f5f68-c103-4733-85fc-ac58ce659311/Januhowskiportraitclose.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery - Could you share a bit about your background and what led you to pursue a career in the arts? How has your journey influenced your work? While growing up, both of my parents had artistic practices alongside their full time jobs, leading me to always have creativity around me. The women in my family additionally have a long history of working with textiles and passing along sewing knowledge from generation to generation. Some of my earliest memories are watching my mom work on her quilts. After being accepted at The Cooper Union, I left Texas at 18 years old and went to art school in NYC for the next 4 years. My experiences at Cooper ripped down what I thought I knew about art, provided me with a foundation of being able to speak about my own work, and interrogated me conceptually. However, my time in New York felt stifling in the end and I wanted a change of scenery to see how it would affect my work. Being at l’École des Arts Décoratifs visually challenged me to question how I wanted to present my subject matter. Without a drawing practice, I had to find a way to create images that was comfortable while also confronting at the same time. I honestly do not think my work would visually be what it is today nor as emotionally charged if I had not come to France. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382641790-EPI94OB8T49M4OPVTPZ7/Bim_Bam_Gallery_Lauren_Januhowsi_12.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery - What are your major influences and sources of inspiration? How do they manifest in your work? Content wise, the women around me and literature (feminist theory, writing centered around oral traditions, and sci-fi mostly) are elements that never cease to be sources of inspiration. Some artists I greatly admire for their textile work and storytelling abilities are Faith Ringgold, Diedrick Brackens, Billie Zangewa, and Erin Riley. Color inspiration comes from everywhere — it can be a building with various colored tiles that I see in the street, the way someone is colorfully dressed on the metro, combinations that I see in a dream. I have an incredibly personal and emotional relationship with color. I believe that certain hues can be incorporated with memories, creating visceral responses. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382529814-3WWZE8UQ0R95J4544LNH/2404.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery - Can you discuss a few milestones in your career that have been particularly meaningful to you? Shortly after receiving my masters, I was selected to show in the exhibition 100% L’EXPO at the Grande Halle de la Villette. This show was an incredible opportunity for visibility and a reinforcement of the feeling that my work had an impact on viewers, while being the first opportunity to show my work outside of an educational setting since I had arrived in France. Additionally, I had the pleasure of being chosen to participate in the Women’s Bauhaus Collective alongside 4 other women artists from around the world. The project, financed by La Prairie, was a residence at the Bauhaus Dessau Foundation as well as a short stay at Sabine Marcelis’ studio in Rotterdam. We were asked to create pieces that suggested our vision of harmony in relation to the Bauhaus movement, which were shown in a virtual exhibition at Art Basel in Basel in 2022. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/337dfd08-383b-4512-8618-400a641cdfb6/2409.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery - How do you hope audiences interact with or interpret your work? Have you had any memorable responses? In each piece, there are multiple layers of comprehension. Some are more obvious than others. I like when people have their own connections with the symbols and colors in my work before my explanation guides them. One of the most memorable responses was from a man looking at my work, who said “It looks like she hates men”, not realizing I was the artist. That one made me chuckle. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382625520-UIQUXJB8VUVTHHHRCATT/Bim_Bam_Gallery_Lauren_Januhowsi_10+copie.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery - How do you navigate the business aspects of being an artist, such as galleries, exhibitions, and sales? I think I navigate this by doing the best I can to absorb information from anyone willing to talk. I try to make meaningful connections with other people in the industry that I know I can trust, especially women artists and women curators. I’m still learning the ins and outs of the business side of the art world in Paris and it moves incredibly fast. I apply to as many things as I can, even if I know I don’t really stand a chance, on the off chance that maybe someone on the jury will be interested in working with me in the future. I trust that my images will find the right people to speak to. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382530494-FIA87N95KUVN4576CY2Q/2401.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382529814-3WWZE8UQ0R95J4544LNH/2404.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382537859-YCQB6P7LQNHMRK8WILWY/2406.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382540153-9U8F6RD14XPWH3M28ORS/2409.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382564183-LXKZKRTA13JEKNG4ANZU/Bim_Bam_Gallery_Lauren_Januhowsi_01.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382556253-5VLQX2RPCJ7BCKTLR7GG/Bim_Bam_Gallery_Lauren_Januhowsi_06.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382572475-059WYPZGZ4LVWV8RQUVC/Bim_Bam_Gallery_Lauren_Januhowsi_05.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382581067-UBFNNHV8EZD6CHLGLRNS/Bim_Bam_Gallery_Lauren_Januhowsi_03.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382588453-HFPOC4RDFADUYKJU2FAM/Bim_Bam_Gallery_Lauren_Januhowsi_04.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382601048-AZOS58MN27Y0IBU1AAW7/Bim_Bam_Gallery_Lauren_Januhowsi_02.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382605135-UMC1V1OZDPO693FN0V58/Bim_Bam_Gallery_Lauren_Januhowsi_07.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382616562-8W4J7RD1F5K9X62HH6E2/Bim_Bam_Gallery_Lauren_Januhowsi_08.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382623421-S76ITQQBB3E7F7HI109W/Bim_Bam_Gallery_Lauren_Januhowsi_09.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382625520-UIQUXJB8VUVTHHHRCATT/Bim_Bam_Gallery_Lauren_Januhowsi_10+copie.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382641680-2SQY8M6RCTH5GPKX4SJP/Bim_Bam_Gallery_Lauren_Januhowsi_11.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382641790-EPI94OB8T49M4OPVTPZ7/Bim_Bam_Gallery_Lauren_Januhowsi_12.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711382651641-OI0YG8055WAKW9I3I32Q/Lauren_Facade.jpg Interview - Interview with Lauren Januhowski for her Solo Show at BimBam Galery https://www.attaly.fr/interview/harmonies-unveiled-a-candid-conversation-with-laust-hjgaard-7x8le monthly 0.5 2024-03-21 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4d8dde50-af59-4b07-b766-831b6c63c43d/c-PersonalErikFoss__IMG8947_1688269997240.jpeg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation - Erik, can you share with us who or what initially inspired you to pursue a career in art? That’s hard to say, I do know that my mom still reminds me of the time I told her I was going to live in NYC and be an artist. That was in the early 80’s when I told her this. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/739f0168-6fb9-46e7-a337-6caa8dd220c1/E1C0BDEF-73DA-4774-BEE4-4E15EC4AAC2E.jpg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation - Could you walk us through your creative process? I keep most of this stuff close to the chest. First thing I do every morning is make my bed. Then I feed myself. Do some breath work, make the emails / dm’s / texts, then eventually head to the studio. I am a late riser due to what I had to do for a living for 25 years. I worked nights mostly, so this has me hard wired at this point. I load up on caffeine at my local coffee spots on my walk to the studio. Once I get in, I make sure everything is set up for the days sesh. This could be making collages, drawings, using the airbrush, setting up the oils/acrylics or simply reorganizing the flat files as I am always pulling works out so there’s always a mess. If my assistant Paul isn’t available to help me for the day, set up takes a bit longer. I change into work clothes as I avoid getting paint on my street clothes. Once station is all set up, I put on some jams, get my caffeine/sugary beverages in place and I get to it. I tend to not stop till I’m cross-eyed, so these sessions can take me into the early morning hours. I usually am physically painting from 7pm-2am, Monday-Friday unless there’s openings I need to attend. Once I’m finished, I clean up, put the street clothes back on, shut the lights off and then take my ten-minute walk down to empty, quiet Chinatown. Throughout my stages of the night, I will take progress pics as they can come in handy sometimes. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/dfcc8560-47c9-44e5-b260-2186e79e9ec4/TRIUMPH_VERT_02.jpg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation - Your work is known for its distinctive style. Can you describe the evolution of this style and what you aim to communicate through it? Well, that’s easy I had to make a shit ton of terrible garbage art until it was good, or at least good enough for you lovely humans to think it’s worthy of your time. All joking aside it’s all hard work, persistent searching for answers and truths. Telling stories and pointing out the good and bad in humanity. But ultimately never giving up and attacking each piece with the thought that this may be what humanity remembers me by. As far as what I aim to communicate... that’s assuming you’re asking what the concept of the snake is? It has to do with how working-class children are introduced to art. The lack of culture to so many ( 99% ) and where we found those sparks of inspiration. My snakes are my story. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/de1f7558-d620-4e37-b854-62ad177083df/c-ErikFoss__69777101128A90671A2FF2041139B88E7FA954A2B84_1688270240597.jpeg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation - How has the rise of digital media and social platforms affected your work and its reception? I have always been a quick adapter even if I don’t approve of it. I was around for the birth of computers, so I feel like I’ve always been connected. My father was involved in the inception of this technology as an engineer. So yeah, it’s a tool and if treated with respect it can benefit one’s carrier. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/46d69af4-3e19-47aa-9907-03550c2f8251/Judith-et-Holopherne-vers-1598-1599-Galerie-nationale-dart-ancien-Rome-1.jpg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation - Imagine you could travel back in time and exhibit your work alongside any artist from history. Who would you choose and why? Hard to pick one, so I’ll pick 5: 1) Caravagio (master of light) 2) De Kooning (master of color) 3) Twombly (master mark maker) 4) Giger (most visionary of all the artists) 5) Richter (master of multiple mediums all at once) https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711024565700-YGNOIDGRYQ3ZP1JB38YZ/TRIUMPH_SHOT_02.jpg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711024571086-5PAPE4VF30W1AUK0949B/foss.jpeg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711024578055-LPHSUDBZWER4OUISNIN7/TRIUMPH_SHOT_06.jpg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1711024591571-6JBH0QT64BQJE12GBJ0W/TRIUMPH_VERT_02.jpg Interview - Erik Foss: A Journey Through Art, Inspiration, and Transformation https://www.attaly.fr/interview/harmonies-unveiled-a-candid-conversation-with-laust-hjgaard-7x8le-gpdrl monthly 0.5 2024-03-19 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/b987a660-66f3-495c-91a3-cdc4d72a40d5/IMG_9469+%281%29.JPG Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives - Can you describe the central themes and inspirations behind your current exhibition at Long Story Short in Paris? This idea of some sort of journey through spoilt landscapes and clean interiors. I almost imagine a person, maybe myself or maybe a stranger, visiting these different spaces and having some sort of profound contemplation or realisation about the nature of existence & their world. Perhaps revisiting places of from their past to find them changed or filled with litter. Most of the paintings share common motifs of horizons, unatural neon sunsets, night skies & far away mountains. These could suggest a journey to a place, physical or metaphorical, that lies beyond the reach of the viewer. A lot of the paintings also include bottles or candles. I like the visual relationship between these two objects being cylindrical upright, seemingly simple objects, but once you really look at them you realise they’re actually very complicated. For example, the translucent of the bottles and the distortion that they create. Candles were very tricky to get right in the paintings, (maybe I still haven’t got them quite right) they’re not as simple as a white cylinder- their waxy surface reflects a lot of light. They are ever so slightly translucent & whilst lit the top glows whilst the bottom fades into shadow. So trying to paint all of this convincingly was quite tricky. There was a point halfway through making this body of the work that I decided to have the candles and the bottles interact with each other via reflections of the flames. This was very exciting for me to paint & was really satisfying when it worked. The idea to paint bottles first came from a day spent in the Lake District with my girlfriend. We’ve been to this same spot quite often to swim, relax and spend the day by the river. I had gone to grab a rock to use a platform to cook on, and underneath this rock Someone had dug a hole and filled it with old beer bottles and plastic crap. Basically they were too lazy to take it back down with them. It got me wondering how many other rocks might have rubbish underneath them. That’s kind of how the idea of painting bottles came into the landscape paintings. That was the first painting in this made body of work to take form and it then informed a lot of the other paintings. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/52711b25-191b-4c6e-ba20-907a7f604a99/GLSS+2024-Louis+Appleby+Alexis+Yang-004.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives - How does this exhibition reflect the evolution of your artistic style and approach ? For me, it’s probably via new levels of detail that I’ve previously not explored- such as earlier mentioned reflections of on bottles or candles. I also included a lot of new motives that I’ve not painted before such as the knife and the fork, the dried flower poking out of the wine bottle & the bottles themselves. I wanted to make some paintings that were more landscape based rather than paintings of interiors & still lifes. The interior still lifes do make a return but are entirely absent in some paintings. I’ve also been less precious about these paintings, not less precious as in I don’t care about them, but less precious in terms of being more free with them and allowing ideas to happen quickly. Rather than thinking them over for weeks or talking myself out of ideas, I’ve been much more confident & quicker in making decisions. My work often takes a bit of planning and can be time consuming. This approach to Painting can have its problems because as more time is spent on the work, you can become more precious about taking risks. It’s awful when you try something & it doesn’t work. You feel like you’ve wasted hours of your life! https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/7326d54b-2f24-4aae-bf56-e86f22e3b374/Shrine+Lake.JPG Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives - Could you walk us through your creative process for developing the pieces featured in this exhibition ? I rarely ever plan the end result of a painting & they usually just evolve over time. I might have a rough idea but it always changes. I always start with layers of colour which usually ends up being a sky. If the colours aren’t right, the entire direction of the Painting will be wrong for me. I can sometimes spend a week or two just layering different colours on top of each other till I’ve got it right. I try to reach for complex colours that only result from multiple layers of paint interacting with each other. In no particular order I’m scraping back, adding , wiping away with cloths, using Airbrush, thick brushes, big brushes, small brushes, glazes. I then like to add some sort of landscape- mountains, Hills or a cityscapes. I really like to set the scene before working out the final areas of the painting. I really love paintings that play with light, space, depth and perspective which is something try to do in my work. My process is very similar fundamentally to collage or stencilling. The locations in my work don’t exist in real life. They are combination of different places. The objects are often copied from Google images. But sometimes I can’t find the right image so I will draw it myself. I use a mixture of both traditional brushes and an airbrush& work with acrylic paint on wood which is different to working on canvas. I always work in multiple paintings at once & build them all up over months of working on them. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/7ddab311-7c84-494a-8b0d-b4289b3c0bc6/GLSS+2024-Louis+Appleby+Alexis+Yang-018.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives - Are there any particular artist or movements of influenced your work for the exhibition ? I’ve been making paintings of interiors for maybe 10 years now, or it’s taken me 10 years to get to this point. my entry point to the style of working was definitely, whilst studying at Wimbledon college of art, seeing some of David Hockney’s interior paintings where he’d painted every hair of carpet in the room. A painting by Nicole Eisenman called Morning Studio- two figures embracing in front of a projection of a computer screen with a galaxy desktop wallpaper, & every folder & program icon painted. I was blown away at that level of detail they both went to & found it fascinating to see how they were painted. Some other artists to include would be Dexter Dallwood, Emily Mae smith, David Rayson & John Stark. more recently, I’ve been loving the work of Friederich Kunath, Michael Canning & Sayre Gomez. There are too many amazing painters all working today to name! https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769826576-U3530UD56ZO7W7XWXIMH/GLSS+2024-Louis+Appleby+Alexis+Yang-002.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769983433-HZYXMJTAZ54C20T1PLMP/GLSS+2024-Louis+Appleby+Alexis+Yang-015.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769826244-K5PJLXBTQTJPIHK4WZXO/GLSS+2024-Louis+Appleby+Alexis+Yang-003.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769983043-FF035KGTBY3KF02GGHUX/GLSS+2024-Louis+Appleby+Alexis+Yang-016.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769831507-XQ6C3QJWBE9U2HK2W6S1/GLSS+2024-Louis+Appleby+Alexis+Yang-004.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769986350-R9HQ5HVS1CR1JOQ445XX/GLSS+2024-Louis+Appleby+Alexis+Yang-017.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769831258-BET15EBX46JXMRHT2OU7/GLSS+2024-Louis+Appleby+Alexis+Yang-005.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769987274-KLX97NS3VQ18N4N7XP1W/GLSS+2024-Louis+Appleby+Alexis+Yang-018+%281%29.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1710769835865-1V0NFQGXFV59XYTEWZM8/GLSS+2024-Louis+Appleby+Alexis+Yang-006.jpg Interview - Beyond the Canvas: A Deep Dive into the World of Louis Appleby, the Artist Shaping Contemporary Narratives https://www.attaly.fr/interview/harmonies-unveiled-a-candid-conversation-with-laust-hjgaard monthly 0.5 2024-03-18 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/6b2b4f90-f9dc-4297-9e6f-0b71ca2a55ae/Capture+d%E2%80%99e%CC%81cran+2024-02-28+a%CC%80+14.00.22.png Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard - Could you share how your upbringing and early experiences shaped your outlook on life and influenced your career choices? Painting and drawing and stepping into a creative process in general has always been a safe space for me. It’s a way for me to process things around me. As I’ve grown older and better at understanding my own work it has become more clear to me that it’s something I sometimes need to process thoughts and balance things out. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3b70eb84-225c-4d3f-87a8-cecf974595ba/image00006.jpeg Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard - How do you approach the creative or problem-solving process in your work, and where do you find inspiration? I try to follow my intuition always. If I don’t keep myself curious I get bored and what I make becomes boring too. Part of my brain wants to let crafts, skills and strategy take over and the only things that overrules that is to choose to be playful instead of focusing on the end result too much. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4e838095-cc46-4572-bb8f-30b94c3e8133/image00005.jpeg Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard - Could you tell us about any projects or initiatives you're currently involved in and what makes them meaningful to you? I just planned to do another charity collaboration with 4by6 supporting homeless children and adults. I’m also participating in the project called Postcards for Ukraine that support those affected by the war in Ukraine. Obviously I’m very happy if it makes a difference for people in both cases. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1709126337529-JJVWD0UCVVC9U2PBK8WH/image00001.jpeg Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1709126338088-DHVZDP52FF2M6RJAZFPI/image00002.jpeg Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1709126339763-GURPJLIY10WWEP95BR6L/image00003.jpeg Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1709126340256-LXEWQ2ILS65DLBJ0XU59/image00004.jpeg Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1709126348333-2H3ZPAU9AS65EAXYBU2L/image00005.jpeg Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1709126347782-NZT0NA9RV5EMQU7MRYF5/image00006.jpeg Interview - Harmonies Unveiled: A Candid Conversation with Laust Højgaard https://www.attaly.fr/interview/charis-vlahos-bridging-cultures-through-vibrant-artistry monthly 0.5 2024-02-26 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/86293def-5da5-4acc-bbe1-5b3018fd1bfa/Come+in%2C+Get+out+_+Charis+Vlahos+_+Portrait+Image_22.JPG Interview - Charis Vlahos: Bridging Cultures Through Vibrant Artistry - What initially drew you to the world of art, and how has your journey been since then ? I’ve been doing creative stuff for as long as I can remember. It is familiar and comforting. This is how I flow. I generate energy through art and I use it to make art. It’s been an organic development for a self/social reflection/projection process. What made it my main job was my need for a freelance career. I want my labor to be part of a self narrated/guided storyboard so I can remain my attention span and interest in the long term. My journey is a never ending roller coaster. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d0479638-8c94-4b6d-a187-112f9cd423c1/Come+in%2C+Get+out+_+Charis+Vlahos+_+Installation+Image_10.jpg Interview - Charis Vlahos: Bridging Cultures Through Vibrant Artistry - Could you share the story behind one of your most significant artworks ? Sometimes speaking about a painting is like explaining a joke. Let’s ruin this together. So, in one of my works I was depicting a low-key sexual fantasy I had as a kid around boys. My goal was to capture both the homoerotic and the bromance dynamics of boyhood. I wanted the painting to be relatable and reachable for queers and cis, straight men, even the most conservative ones. My intention was to make men question their sexuality from a familiar fluid POV, from an early development stage of sexuality. Painting sold. Painting explained. Straight people still exist, wtf? Homophobia still exists WTFFFFF? It’s not even a joke anymore. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/cb8c19af-a651-4c66-bccc-f1d73a4700d3/Come+in%2C+Get+out+_+Charis+Vlahos+_+Installation+Image_3.jpg Interview - Charis Vlahos: Bridging Cultures Through Vibrant Artistry - How do you handle creative blocks or challenges in your work ? It’s hard to balance between something that’s both your passion and your work. It's a thin line between experiencing life and just surviving. I’ve learned two things on my journey lately: 1.Being a workaholic doesn’t mean you’re being productive. 2. Experiencing burnout doesn’t mean you’re doing nothing. For almost a year, I didn't paint at all because I was experiencing burnout. However, I ended up editing for weeks without leaving my house. I’m not saying that this is healthy or good; I’m just conscious of my patterns. Yes, I was working, but it was a coping mechanism. The past year was all about growth. I’ve connected with what is closer to me, and that’s my body. When my mind can’t shut the hell up, I listen to my body. I’m exercising, I’m dancing, I’m engaging with my senses by cooking nice food, having cold showers, etc. Later, when I’m grounded, I connect with my fear, my anger, and my sexuality. Eventually, I connect with my work because I connect with my art. I never really stop working, even at times when I’m completely detached from work. On holidays, I read books and I draw in sketchbooks. Having said that, and being aware of other personal unhealthy routines, I found a new formula. I maintain my creative flow by working five days in a row, and I see friends most days of the week. In the past, it would be either 'I’m not leaving the studio/house' or 'I’m not going back to my studio/house". https://www.attaly.fr/interview/ubnyq2dfy4jf946ty8wzxvhaeqvjel monthly 0.5 2024-02-26 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707232893463-8E0MLU2CFXKAF0XVJMDJ/Amy_portrait.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. - Can you share the inspiration behind your focus on female sexuality and ecopolitics in your art ? I see female sexuality and eco politics as interconnected. I am looking for ways to explore female sexuality as something that is multiple, open, and sensuous. I would like my paintings to be suggestive of a way to experience the world differently, framing sensuality as being the connective tissue between things. So many of our current structures value domination and control which is a huge problem for the survival of the natural world. My paintings reshape worlds, animals and women commune with one another through a language that is rooted in bodily experience and sensuous perceptions. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3dd45c7b-8912-4c78-a2c6-828bfc2b2773/Credit_Nicolas_Brasseur_DSC7518.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. - What influence has your education at the Slade School of Fine Art and Goldsmiths University of London had on your artistic practice ? When I was studying for my undergraduate degree at Goldsmiths University I wasn’t painting, instead I was making live performances and videos. At Goldsmiths the emphasis was on the conversation the work generated. Studying there taught me how to engage with a very broad range of art and gave me a rigorous education in critical discourse. It may have changed but at the time it felt like there was a lot of fear in the building, students were scared to share work they weren’t sure how to talk about. It wasn’t until my postgraduate at the Slade School of Fine Art that I began painting. A tutor encouraged me to paint after seeing a couple of watercolours that I had made. It was like falling in love, I was completely and still am besotted with painting. The Slade was a very nurturing environment, and I am so grateful for the time I had there. The environment encouraged students to take risks, to be vulnerable and to make art that felt like an expression of them. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/55eeee6d-26cc-4308-9eff-cfd47b7c6e9e/Credit_Nicolas_Brasseur_DSC7524.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. - What challenges have you faced in conveying complex themes like ecopolitics through visual art ? One of the challenges in conveying complex themes such as eco politics in my paintings is that the themes come across through a feeling rather than a descriptive ‘message’. They unfold over time and through longer looking. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707387988980-M3XNXAD5BSZNJIR55T64/2302_June_large.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707388069957-O9Y1G8D541VEJA8HTGC2/2307_Kites_in_the_sky_large.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707387988261-GSWVBHZ2TXR73KB5Q9UA/2302_June_detail_01.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707387961493-T7MJSPG8F01LANAHV0CG/2301_October_detail_03.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707387950504-B1ZZXUZW030184NBKAXP/2301_October_large.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707388042599-7FXOLC9QQ70YAXRC99QO/2304_As_above_so_below_detail_01.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707388007807-SBHJ587SHGRVPQ9PRJHT/2304_As_above_so_below_large.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707388025698-S34YNNK9LG9LF6YK3BYC/2305_Walking_and_falling.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707388049818-U1VGSS886Y4HIQCA8RQB/2306_Reflections_large.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707388115914-NRET2T57D1Q5YUS1YRT8/Credit_Nicolas_Brasseur_DSC7518.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707388117029-2VQWYXW8XBPZBMCGV7YI/Credit_Nicolas_Brasseur_DSC7524.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707388143820-M1BYFHE2TC7QNNK61Q7P/Credit_Nicolas_Brasseur_DSC7534.jpg Interview - Exploring the artistic journey of Amy Steel : a fusion of tradition and innovation. https://www.attaly.fr/interview/javier-ruiz-navigating-the-intersections-of-culture-and-creativity-in-contemporary-art monthly 0.5 2024-02-07 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d3ffe01b-ecd7-485b-83cb-baffbd6da6c1/Javier+Ruiz+-++Fotografi%CC%80a.jpeg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art - Can you tell us about your artistic background and journey leading up to your collaboration with Plan X Gallery? It could be said that my training has been completely random. It is true that I have received painting classes or that I have higher education in something related to the arts or drawing, but the reality is that everything comes from the search and love for this and that I have done it in a completely autonomous and self-taught way. On the other hand, and as for my previous career, except for the last three years, it is full of ups and downs. I have tried, I have fallen, I have got up, fallen again and got up again until I found my way. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/ce16a03b-5fc9-4865-a0e1-b2fea10fdd6b/JRU09-image+%283%29.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art - Could you walk us through your creative process, from conceptualizing an idea to bringing it to life on canvas? In a first step, everything comes from a never-ending search, that is, I am open to everything. The windows from which I nourish or feed visually are social networks. I make a lot of screenshots of random things that attract me for different reasons and that, later, I revise, change or transform. This is, of course, a form of "appropriationism", but in subsequent steps, I move away from the previous images to create something completely new, visually and conceptually. In this way, there are four steps in my creative process: collecting written images/ideas; transforming them into my own ideas from hand drawings; making a photographic montage; and, as a last step, taking the final image to the canvas. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/76f43ef0-d2ae-46ad-8827-85e538c1aa5a/ROARS_SHOT_04-1.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art - How do you see the relationship between an artist and their representation in a gallery like Plan X ? How has this partnership helped further your artistic career? I firmly believe that there has to be a relationship that transcends the professional. It has to flow on a human level, both galleries and artists depend on a multitude of external factors and when I work with someone, I need to think that I can trust the people I have by my side. Obviously I'm not necessarily talking about close ties of friendship, but I am talking about affinity and personal chemistry. Specifically with the Plan X family there has been a total match, especially since the moment we got to know each other personally. This kind of feelings and perspectives are, I believe, the ones that really make you grow. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1d82ec8b-270b-4e4c-bc45-917f50165770/ROARS_SHOT_09+copia.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art - How do you approach the balance between artistic expression and commercial success ? Do you find it challenging to navigate this aspect of being an artist ? From the most absolute unconcern. When I was younger I did have a certain desperation to be or achieve this or that. Now, simply, I work from the absolute love for what I do, with enough self-confidence to know that if things don't work out in the market, I have enough tools to get ahead. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319145760-VZA2JDQ41I86Z2950LGF/Javier+Ruiz+-++Fotografi%CC%80a.jpeg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319152754-OAT1PPRJBRLDVUUH6MVH/JRU08-image.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319155681-0TVRIP7331NWWY90ZB38/JRU09-image+%283%29.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319192487-CBOOVIAC088E0BGTV6R9/No-quiero-que-se-acabe---O%CC%81leo-sobre-papel%2C-40-x-50-cm%2C-2024.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319178069-I6PTJPA3IPAUS6A1ZTM2/ROARS_SHOT_01.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319195072-V92QJW77LXJO4VFC9DK5/ROARS_SHOT_02-1.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319215102-A74VDJN4O7XJIX0NJYR4/ROARS_SHOT_04-1.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319216228-L3GIUWM3GEUWCJ1LM5YE/ROARS_SHOT_08-1.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1707319232053-1MQTP3WXOLNUACKXROX6/ROARS_SHOT_09+copia.jpg Interview - Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art https://www.attaly.fr/interview/de-la-finance-lart-contemporain-rencontre-avec-razphal-isvy monthly 0.5 2024-02-13 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d48b1a0f-8d32-429b-b878-e1ed2581a4ad/IMG_6427.JPEG Interview - De la finance à l’art contemporain, Rencontre avec Raphaël Isvy. - Comment as-tu commencé à collectioner ? J’ai commencé a collectionner en 2010, sneakers et cartes pokémon. Puis j’ai découvert le monde de l’art, en premier les éditions et l’art urbain autour de 2015 avant de tranquillement transitionner sur l’art contemporain et les originaux. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/808098a1-e3d4-436c-af5f-78ea80c88fab/Eva+Pade.jpeg Interview - De la finance à l’art contemporain, Rencontre avec Raphaël Isvy. - Les artistes à suivre en 2024 selon toi Eva Helene Pade, And that beloved face (2023). Courtesy of Galleri Nicolai Wallner. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/ea009e19-4349-4db2-8ecf-6c6be8978cad/Cover.jpeg Interview - De la finance à l’art contemporain, Rencontre avec Raphaël Isvy. - Ton oeuvre favorite de ta collection ? C’est assez dur a dire, mais ce serait surement mon George Condo ! Un de mes artistes préférés ! https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/da158bff-b1a7-4a6b-85ef-03568f814b8b/CA6A7E31-0ED2-4CC4-AB09-41A758279A61.jpg Interview - De la finance à l’art contemporain, Rencontre avec Raphaël Isvy. - Quel type de pièces collectionne-tu le plus ? J’ai 60% de toiles 30% d’œuvres sur papier et 10% de sculpture à peu près. Je n’ai quasiment plus d’éditions voir plus aucune. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/a2e85a83-f387-4531-b18e-27781bd70aab/IMG_2352.jpg Interview - De la finance à l’art contemporain, Rencontre avec Raphaël Isvy. - Quels sont tes projets pour 2024 ? Je refais tout mon appartement avec mon amie Sophie Dries, architecte de renom classée dans le AD100, le projet va être super j’ai hâte de vous le partager ! Je continue également la curation avec une artiste chez Almine Rech qui exposera sur différentes foires et un solo tout au long de l’année 2024 – Sylvia Ong. Et je continue à faire un peu de deal parmi mon réseau. https://www.attaly.fr/interview/blog-post-title-four-xs2yh-gd646-rcfb5 monthly 0.5 2024-01-08 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/e1da49a1-5568-4f49-887b-4ffd690a932a/CADET-CAPELA-KWONG-WIN-KWAN-LUXE_NET-08.png Interview - Kwong Wing Kwan Solo Show Galerie Cadet Capela : « Good Morning, Sweet Dreams. – Midnight Sun » – L’interview exclusive - Vous présentez maintenant votre premier Solo Show européen chez Cadet Capela, « Good Morning, Sweet Dreams. – Midnight Sun » – pourriez-vous nous conter votre ligne directrice ? L’imaginaire de ce show se déroule entre le crépuscule et l’aube, sur les toiles se juxtaposent des paysages et leurs lumières, mais aussi ces jeux d’ombres intérieurs qui peuvent faire transparaître un certain contraste entre une sensation de tendresse et de violence ; une sensation de familiarité et de distance. Mes œuvres réalisées pour le show « Good Morning, Sweet Dreams. – Midnight Sun » présentent ces paysages oscillant entre le jour et la nuit, des oeuvres au sein desquelles j’explore également le sujet du « chez-sois » et de l’engouement de chacun pour ce que l’on appelle « maison ». Une sensibilité venant du fait qu’à partir de 2021, mes parents et certains amis qui vivaient initialement à Hong Kong ont quitté leur foyer pour diverses raisons. Ainsi, ce qui chevauche les paysages apparemment familiers ne se limite plus aux lueurs séduisantes de l’éclairage domestique, mais aussi aux images de dégénérescence et de glamour éblouissant qui réveillent constamment la ville. Même lorsque l’on est à la maison, le sentiment du mal du pays prévaut constamment. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/5af8f134-fa17-4e6f-9ab7-bce9eff4c13e/CADET-CAPELA-KWONG-WIN-KWAN-LUXE_NET-14.png Interview - Kwong Wing Kwan Solo Show Galerie Cadet Capela : « Good Morning, Sweet Dreams. – Midnight Sun » – L’interview exclusive - Comment avez-vous débuté votre parcours artistique ? Quand j’étais enfant, j’étais souvent amenée à dîner avec ma famille et leurs amis de nationalités différentes. De par la barrière de la langue, il m’était difficile d’engager la conversation. Pour surmonter l’anxiété provoquée par cette frustration de ne pouvoir communiquer, j’ai trouvé mon réconfort dans l’art. Cependant, tout s’est sincèrement souligné lorsque mon frère est tragiquement décédé alors que je n’avais que dix ans. L’art est alors devenu pour moi un moyen d’exprimer toutes ces émotions qui m’étaient compliquées à partager : l’art est alors devenu ma forme de thérapie personnelle. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4a536559-295e-464e-bfb5-92a17f01386d/CADET-CAPELA-KWONG-WIN-KWAN-LUXE_NET-10.png Interview - Kwong Wing Kwan Solo Show Galerie Cadet Capela : « Good Morning, Sweet Dreams. – Midnight Sun » – L’interview exclusive - Quelles sont vos plus grandes influences et inspirations ? Mes inspirations viennent de sensations telles que les perturbations, l’anxiété, la nature éphémère de la vie, les moments eux-même éphémères, la mortalité, la météo, la transformation, le concept du chez-soi, le désir d’être chez-soi, le jetlag et le manque de sommeil, la beauté des couchers et des levers du soleil, l’introspection, la distance, les souvenirs, l’expérience en tant que migrant, le besoin de sécurité, la présence de la lumière, les corps célestes, l’immensité de l’univers et le sentiment de solitude. L’inspiration peut se manifester sous diverses formes et se retrouver à différents endroits, tout comme la présence d’air et de particules. C’est comme si j’avais un capteur intégré capable de détecter l’inspiration, même s’il peut parfois ne pas fonctionner correctement. C’est souvent lorsque je suis détendue et que je ne la recherche pas activement qu’elle me vient plus facilement. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/e8845fbf-c179-4198-ad33-b66d43f14e88/CADET-CAPELA-KWONG-WIN-KWAN-LUXE_NET-10.png Interview - Kwong Wing Kwan Solo Show Galerie Cadet Capela : « Good Morning, Sweet Dreams. – Midnight Sun » – L’interview exclusive - Pouvez-vous nous décrire votre processus créatif ? Concernant les grands paysages, je vais partir d’une couleur, telle qu’une couleur d’horizon, de rivage, de montagne ou même d’arbre puis je commence à faire des applats sur une toile, souvent avec du pastel afin de définir une composition. Cela n’apparait pas de manière stricte, comme on peut le voir sur certains de mes dessins où l’on peut apercevoir des couches mais on ne comprends pas vraiment ce qui est mer ou terre. C’est après que tout peut changer : ce qui était horizon peut devenir nuage… rien n’est préalablement définit. Concernant les oiseaux, c’est différent. J’essaie de partir d’une forme figurative puis de ramener l’abstraction des paysages dans une forme déjà existante, ce qui est un autre processus. Je cherche à représenter des oiseaux en voie de disparition. Souvent je vais tenter de retrouver des formes de becs, de plumages, de griffes afin d’essayer de retrouver ce rendu. Un processus différent mais en peinture, on retrouve ces techniques de recouvrement et ces changements. Rien n’a été conçu par avance, je ne sais pas exactement ce que je vais faire avant de peindre. https://www.attaly.fr/interview/blog-post-title-one-a5a6e monthly 0.5 2024-01-08 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/0e73ff51-88a0-41c1-be4f-d92baab13d42/Sylvia-ONG-luxe-net.jpg Interview - “Ouverture” by Sylvia Ong Vous avez présenté votre premier Solo Show parisien, « Ouverture », lors de Paris+ Art Basel avec la galerie ESMB, que fut la ligne directrice de ce show ? Mes travaux se traduisent par un expressionnisme lyrique, s’inspirant avant tout de la nature, du son et de la musique. Il n’est pas seulement question de beauté ; il y a un aspect philosophique plus profond. Ma curiosité s’étend aux fréquences terrestres ou à la théorie de la résonance de Schumann, explorant comment elles contribuent au processus de guérison. J’ai la conviction inébranlable que toute vie sur Terre est interconnectée à travers les fréquences de la vie et les couleurs qu’elle manifeste. Cette exploration est un rappel poignant pour vous reconnecter à votre monde intérieur, découvrir vos émotions authentiques et permettre une compréhension plus profonde de vous-même. Ce concept m’a amené à collaborer avec le compositeur de musique grec Aoris : un EP de 6 titres a été créé afin d’accompagner et renforcer l’expérience. Je pense que cette idée s’harmonise parfaitement avec la série ‘Ouverture’. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/a4742059-d914-4ffd-9bb4-64ec52c480c3/Ouverture-Oil-on-canvas-200x200cm-Sylvia-Ong-ESMB-Gallery-luxe_net.jpeg Interview - “Ouverture” by Sylvia Ong Quel a été votre parcours artistique ? J’ai fais des études de cinéma à Kuala Lumpur où j’ai aussi eu la chance d’apprendre le théâtre, la musique et la danse. Je n’ai cependant jamais étudier les beaux-arts directement. C’est lorsque j’ai quitté mon job de productrice que je me suis lancée dans la peinture en tant qu’artiste autodidacte. Depuis, je suis dans un voyage d’apprentissage continu et j’explore mes compétences dans le monde abstrait. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/cc376cbf-8a79-4efa-a439-d9e2c6267af3/Echoes-I.200x200cm-Sylvia-Ong-luxe_net-scaled.jpg Interview - “Ouverture” by Sylvia Ong - Quelles sont vos plus grandes influences et inspirations ? Dream II – Oil on canvas, 150x150cm – Sylvia Ong © Nicolas Brasseur / ESMB Gallery https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/8132d6e1-eff0-4cdc-a3dc-19305db4fb19/Ouverture-Sylvia-Ong-2-luxe_net.png Interview - “Ouverture” by Sylvia Ong - Démarquez-vous Quel que soit le cas, la façon dont vous racontez votre histoire en ligne peut faire toute la différence. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/9e6584b6-b8fb-4c8a-b794-cd52a0c26623/celle+la.jpeg Interview - “Ouverture” by Sylvia Ong - Travaillez-vous actuellement sur de nouveaux projets ou séries ? Oui, je travaille actuellement sur de nouvelles pièces pour plusieurs foires d’art majeures telles que Frieze et Art Basel, ainsi qu’une exposition personnelle d’ici fin 2024. J’ai hâte d’annoncer la bonne nouvelle à tout le monde ! https://www.attaly.fr/interview/blog-post-title-four-xs2yh monthly 0.5 2024-01-08 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1037cf7a-6acf-4e02-bfb3-1d3a256178b0/Abri-Lou-Ros-Romero-Paprocki-luxe-9-scaled.jpeg Interview - Lou Ros : « Abri », un Solo Show immersif chez Romero Paprocki - Présentation ? Je m’appelle Lou Ros, j’ai 39 ans, je fais principalement de la peinture mais je travaille également sur plusieurs médiums, dont certains nouveaux notamment au sein de mon Solo Show « Abri », chez Romero Paprocki. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/03fed4df-aba1-4ab2-bb29-44cc96dc7307/Abri-Lou-Ros-Romero-Paprocki-luxe-4-scaled.jpeg Interview - Lou Ros : « Abri », un Solo Show immersif chez Romero Paprocki - Quelle est l’ambition première derrière « Abri » ? Je tenais à regrouper tout ce que j’aime créer et ce via plusieurs branches. C’est pour cela que l’on peut apercevoir des dessins, de la céramique, et même des installations n’étant elles pas à vendre mais qui viennent communiquer avec les oeuvres environnantes. C’est la première fois que j’ai pu réaliser un combo rassemblant tous ces médiums. https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/289c4911-5e38-47eb-a30b-270cba9727cf/Abri-Lou-Ros-Romero-Paprocki-luxe-3-scaled.jpeg Interview - Lou Ros : « Abri », un Solo Show immersif chez Romero Paprocki - La nature semble primordiale au cœur de votre travail, comment travaillez-vous un tel effet ? Ce rapport à la nature, je l’ai eu très tôt : petit je voulais devenir ornithologue. Lorsque j’ai commencé la peinture, j’aimais l’image mais pas forcément le fond et la forme qui correspondait. Je cherchais ce sujet sur lequel je pouvais communiquer et ce, assez simplement mais aussi fortement, me reconcentrer sur ce que j’aimais vraiment, sur un univers auquel j’étais proche. Pour moi, c’était d’abord les oiseaux, que j’admirais beaucoup petit -et toujours aujourd’hui d’ailleurs- puis la nature, que l’on oublie un peu trop depuis quelque temps… https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/3d757ba3-2bc2-4bee-8c88-e75360adfcaa/Abri-Lou-Ros-Romero-Paprocki-luxe-2-scaled.jpeg Interview - Lou Ros : « Abri », un Solo Show immersif chez Romero Paprocki - Pouvez-vous nous décrire votre processus créatif ? Concernant les grands paysages, je vais partir d’une couleur, telle qu’une couleur d’horizon, de rivage, de montagne ou même d’arbre puis je commence à faire des applats sur une toile, souvent avec du pastel afin de définir une composition. Cela n’apparait pas de manière stricte, comme on peut le voir sur certains de mes dessins où l’on peut apercevoir des couches mais on ne comprends pas vraiment ce qui est mer ou terre. C’est après que tout peut changer : ce qui était horizon peut devenir nuage… rien n’est préalablement définit. Concernant les oiseaux, c’est différent. J’essaie de partir d’une forme figurative puis de ramener l’abstraction des paysages dans une forme déjà existante, ce qui est un autre processus. Je cherche à représenter des oiseaux en voie de disparition. Souvent je vais tenter de retrouver des formes de becs, de plumages, de griffes afin d’essayer de retrouver ce rendu. Un processus différent mais en peinture, on retrouve ces techniques de recouvrement et ces changements. Rien n’a été conçu par avance, je ne sais pas exactement ce que je vais faire avant de peindre. https://www.attaly.fr/home daily 1.0 2026-02-09 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/54938459-ee54-442d-9f6b-0be22aceb5b6/PHOTO-2025-05-03-23-29-02_1.jpg Accueil https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1751555171940-ASZJR5XLDY2XCNVKUI67/L1200175.jpg Accueil https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/6c51c1d8-a9a6-4d39-8ae0-95bc9af9184f/images.png Accueil https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d25a3860-3b56-43df-a047-e758a4ae3d8e/1730018072150.jpeg Accueil https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/f9be992f-fa18-4795-a4b4-617f68d695e9/33e91f39-4117-45a9-881c-0c5e879c5fa1_rw_3840.jpg Accueil https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d777e912-d078-4520-9b2e-e4c458305d65/Muse%CC%81edel%27orangerielogo.jpg Accueil https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/5097ae8d-e6f8-46dc-b684-6454b8132efe/Unknown-1.webp Accueil https://www.attaly.fr/contact daily 0.75 2025-07-09 https://www.attaly.fr/jen-jones-1 daily 0.75 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19 monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/882e3446-0deb-4db3-bb5d-b8c41e535aca/IMG_3912.jpg Jen Hitchings - Jen Hitchings "The Squid" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/e0d50ea1-7d52-4837-8595-95a2ae5b38f7/IMG_3913.jpeg Jen Hitchings - Jen Hitchings "The Squid" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/afe41c2b-811b-4209-8990-267014756074/IMG_3915.jpeg Jen Hitchings - Jen Hitchings "The Squid" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings "The Squid" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings "The Squid" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings "The Squid" https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19-75xr3 monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/971f52a1-4e81-44ea-883b-cf23111430a9/IMG_3918.jpg Jen Hitchings - Jen Hitchings "Mriga" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/ac2a3f2f-1e0c-4ae3-aec4-68f8f538de3e/IMG_3920.jpeg Jen Hitchings - Jen Hitchings "Mriga" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/20227f6b-1c99-405c-8128-65b166139b36/IMG_3921.jpeg Jen Hitchings - Jen Hitchings "Mriga" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings "Mriga" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings "Mriga" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings "Mriga" https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19-75xr3-e7k84 monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/0a809356-f7a2-4e2a-926d-523d0cba3417/IMG_3926.jpg Jen Hitchings - Jen Hitchings "The Dragonfly" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/c5fedb83-d592-44b4-803a-47a0a9f6587a/IMG_3927.jpeg Jen Hitchings - Jen Hitchings "The Dragonfly" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/de027ba0-b8ae-450c-a8ed-79beca967ad3/IMG_3930.jpeg Jen Hitchings - Jen Hitchings "The Dragonfly" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings "The Dragonfly" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings "The Dragonfly" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings "The Dragonfly" https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19-75xr3-hrgyl monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/aa00a4c1-c21a-4f25-9281-bb373a2166a6/IMG_3934.jpg Jen Hitchings - Jen Hitchings "The snake" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4e05a5bc-445b-452a-9696-fdb2ae5b8168/IMG_3935.jpeg Jen Hitchings - Jen Hitchings "The snake" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/76746492-a19e-44c2-8c7c-0eac2a7483e7/IMG_3937.jpeg Jen Hitchings - Jen Hitchings "The snake" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings "The snake" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings "The snake" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings "The snake" https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19-75xr3-e7k84-5y6w9 monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/c118c8ca-a5a9-444d-811d-6db4297940b6/IMG_3945.jpg Jen Hitchings - Jen Hitchings "The Owl" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/68fc3673-ab97-4346-b809-ad00c3dd660c/IMG_3947.jpeg Jen Hitchings - Jen Hitchings "The Owl" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/701b4ff5-c437-425e-9c6c-97386c562be6/IMG_3948.jpeg Jen Hitchings - Jen Hitchings "The Owl" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings "The Owl" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings "The Owl" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings "The Owl" https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19-75xr3-e7k84-5y6w9-hw79z monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/83d4075e-3ca8-4349-9286-19e7dac9b6e9/IMG_3963.jpg Jen Hitchings - Jen Hitchings “The Crow” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/0c98b350-4263-4ffc-8558-d40e038bf9b9/IMG_3964.jpeg Jen Hitchings - Jen Hitchings “The Crow” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/315bdef7-0b26-4c26-8c49-1678ebd48ca6/IMG_3967.jpeg Jen Hitchings - Jen Hitchings “The Crow” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings “The Crow” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings “The Crow” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings “The Crow” https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19-75xr3-e7k84-5y6w9-rfxdb monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/9c2cd62d-d90e-4c01-806c-ae0a566e6543/IMG_3975.jpg Jen Hitchings - Jen Hitchings "The Hare" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d1f1102f-ed6c-4291-9883-3ce2de87df67/IMG_3976.jpeg Jen Hitchings - Jen Hitchings "The Hare" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/2f55b450-8273-44e3-a83d-c0af4abb571c/IMG_3977.jpeg Jen Hitchings - Jen Hitchings "The Hare" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings "The Hare" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings "The Hare" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings "The Hare" https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19-75xr3-e7k84-5y6w9-rfxdb-9cd9n monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/205c911b-ad9f-449e-9690-764a42bbfc3a/IMG_3980.jpg Jen Hitchings - Jen Hitchings "The Hawk" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/21d139bf-ff41-49d4-bfc4-b147c0712f7f/IMG_3982.jpeg Jen Hitchings - Jen Hitchings "The Hawk" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/4d947d80-e98e-4b53-9074-4e767e4dc26f/IMG_3984.jpeg Jen Hitchings - Jen Hitchings "The Hawk" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings "The Hawk" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings "The Hawk" https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings "The Hawk" https://www.attaly.fr/jen-jones-1/p/the-squid-jen-jones-19-75xr3-e7k84-5y6w9-rfxdb-sknbs monthly 0.5 2024-11-06 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/d45ff41d-90ae-4046-9f35-9c2db738bbb0/IMG_3953.jpg Jen Hitchings - Jen Hitchings “The Moth” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/2a915d3f-e525-4f1c-8045-1a5584545463/IMG_3954.jpeg Jen Hitchings - Jen Hitchings “The Moth” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/fd8ceca7-78e9-437b-898a-17da7c8afa7f/IMG_3957.jpeg Jen Hitchings - Jen Hitchings “The Moth” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352609-O6BNGGOWYE7T8PZUIXRH/image0.jpeg Jen Hitchings - Jen Hitchings “The Moth” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897352919-4JBYUEUPSFWXHM2ALQII/image1.jpeg Jen Hitchings - Jen Hitchings “The Moth” https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/1730897354863-4RQ5Z55K10B6TGYBMDUP/image2.jpeg Jen Hitchings - Jen Hitchings “The Moth” https://www.attaly.fr/creativelab daily 0.75 2025-11-19 https://www.attaly.fr/creativelab/project-three-sng7y-nmf2b monthly 0.5 2025-11-19 https://images.squarespace-cdn.com/content/v1/655e45acbc5d225098c50b72/ea3df5a0-160a-4079-be05-d4769b64607d/PHOTO-2025-05-03-23-29-02_1.jpg Creative Lab - 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