Pascal Bauer / Ana Bloom / Véronique Bourgoin /
Cyril Hatt / Beatriz Toledo
Pascal BAUER Born in 1959 in Madagascar. Lives and works in Paris and Niort.
Graduate of Ensad Paris.
Is represented by the School Gallery, Paris
Never leave your children alone, prints on flexible pvc, welded and inflated with polyurethane foam.
Flexible PVC is used to make toys or inflatable commercials whose coarse manufacture amplifies candor. By antagonism, I wish to make scenes of latent violence, imprinted with photographic realism. Characters less than one meter tall have their faces deformed by a scream. They come forward, vindictive, showing an unresolved tension, ready to explode. They are inflated to the block. Their sutures make them descendants of Frankenstein's creature. For photographic prints to render the volume of bodies, it was necessary to fragment the image into a complex pattern, recomposed by welding. The technique, non-existent outside the industrial process, had to be invented. This technical precision contributes to the sense of the piece. These small clones are violently reconstructed bodies, the sutures of which reinforce the crude character, the non-smooth, the unrefined.
Véronique BOURGOIN Born in Marseille. Lives and works in Montreuil.
Graduate of Fine Arts in Paris.
Is represented by Arnaud Deschin Gallery
The creative process of his work blurs temporal boundaries and brings the viewer to an experience that is both organic, poetic and abstract, and to question the issues of our time.
Cubic Horizons, installation.
I put the "salon" as a metaphor for a place of communication and exchange. I made my "living room" transportable and metamorphosable through an installation that, like the setting of a film, juxtaposes universes and mixes works, drawings, objects, photographs, documents. Recreating a trompe l'oeil space, the walls are covered with black and white wallpapers that reproduce 1 / 1 'salons', which I choose during my travels. Some works are erased by black monochrome painted on the support for performances. I collect exhibitions since 2010 to show their character both original and representative of an era, a way of life, in opposition to the generalization of new spaces of virtual communication.
Graduate in visual arts and photography.
Breaths, breath project, photographs
Breaths, Breath project is a scream, an experiment and photographic attempt to make visible the "other side". It is a road taken on the past exiles of my family history and my contemporary artistic nomadism in order to question the migrations of today. A photographic fight is played here between the elements, the air, the water, the fire, questioning our relation to the earth, the culture, the Cosmos.
I capture Breaths in cities near oceans and seas until now. I expose these Breath on arrival in a new destination where I return to artistic residency to capture other Breaths and so on. This road started in Marseille in France in 2015. Marseille was exhibited in Paris, then in Spain. Spain was exposed in India. The breaths collected in India were exposed in Tunisia. The continuation of the road will continue in 2019 on a historic destination in Havana. This work is done without digital retouching. Only a heavy chromatic work participates in the visual language.
Cyril HATT Born in 1975. Lives and works in Saint Jean de la Blaquière.
The Baptist's sheep, photographs, sculpture.
The Baptist's sheep is a sculpture made from images captured on the internet.
The recomposition is a heterogeneous assemblage of several images documenting the "Tarasconnaise". Thus, we are given to see a sheep both recognizable and implausible. This sculpture simultaneously offers us its material fragility and its evocative force.
Beatriz TOLEDO Born in 1979 in Sao Paulo. Lives and works in Paris
Graduate Fine Arts from the University of Sao Paulo, Master Photography and Contemporary Art Paris VIII
It's easier to scrape the mortar than to move a stone, photography, wood and pliers, 2,20m x 4m x 3xm.
Taken in a supermarket of the geode in Brazil, the photograph at the origin of It's easier to scrape the mortar than to move a stone focuses on the way in which minerals are arranged on shelves methodically, by color to become "assimilated" goods that exhibit the stigma of their treatment. Indeed, to reveal the "precious" heart of the stone, it is necessary to incise the shape on the length. It is this mutilation that inscribes its value to the object. The play re-plays this dialectic from the outside to the inside, from revelation to absence, from the profane to the sacred. Raised on an anthropomorphic scale, these fragmented images are integrated into a sculptural device that involves a ritual, frontal dimension that gives these faceless figures an almost human characteristic.