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.
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 manufacturing 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 recomposed 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.
Represented by the 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 cry, an experience and a photographic attempt to make visible “the other side”. It is a journey taken on the past exiles of my family history and my contemporary artistic nomadism in order to question today's migrations. A photographic fight takes place here between the elements, air, water, fire, questioning our relationship to the earth, to culture, to the Cosmos.
I have been picking up breaths in cities close to oceans and seas so far. I exhibit these breaths on arrival in a new destination or 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 based on a motley assemblage of several images documenting the “Tarasconnaise”. Thus, we are given to see a sheep that is both recognizable and implausible. This sculpture simultaneously offers us its material fragility and its evocative strength.
Beatriz TOLEDO Born in 1979 in Sao Paulo. Lives and works in Paris.
Graduated Fine Arts from the University of Sao Paulo, Master Photography and Contemporary Art Paris 8.
It is 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 is easier to scrape the mortar than to move a stone lingers on the way in which minerals are arranged on the shelves methodically, by color to become "assimilated" goods which exhibit the scars of their treatment. In fact, to reveal the "precious" heart of the stone, you have to incise the shape lengthwise. It is this mutilation which inscribes its value to the object. The play re-enacts this dialectic from outside to 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 which implies a ritual, frontal dimension and which gives an almost human characteristic to these faceless figures.