Arthur Lambert highlights these transformed states of nature and being. Removing oneself from the world is one of the keys to unlocking this fantastic journey within a secret, coded language. […] These “illuminations” allow the artist to initiate a search between the heavenly and the earthly, between ...

« Louise Pressager's works can be described as “moral”. They are at the heart of contemporary debates relating to issues of power and domination. The vocabulary used is both ironic and serious, grotesque and cheerful, absurd and irreverent, but never cynical: Louise Pressager knows that she... »

"I use a € 100 banknote as my material. It is 100% pure cotton. I rub it between two fingers every day for over a month until it is worn out and some material comes out of it. I do this in different locations so as to provoke and reveal the reactions of passers-by..."

Virginie Gouband has, for a few years now, been working on a broad and complex study of the status of representation, its relationship to space, the world and the viewer. With a preference for such mechanical processes as photography and film, she uses seemingly banal pictures to further her investigation ...

The Uncanny defined by Freud as a disturbing familiarity, although not explicitly named by François Malingrëy, is a concept he probably wouldn’t dispute, since his realistic paintings are suffused with mystery, to the point of making the viewer uncomfortable.

Marion Bataillard paints all kinds of scenes, in all sorts of formats, but nevertheless keeps them remarkably consistent. Beyond an obvious stylistic consistency, there is, more and less importantly, a painter’s consistency, for she is searching for her own genius, beyond the variety of subjects and means of expression.

As stubborn or as patient as nature, Tatiana Wolska repeats her simple gesture, almost fumbling, untilsomething comes of it.Pieces of heat-sealed plastic are used to produce shapes that, despite their large volume, are as light-weight as clouds.

Willem Boel has just built stunning machines. They are new embodiments of his New Mills,  a perpetual work on randomness and repetition. Willem gives shape to what happens in everyday life, to sculptures that he literally extracts from nothingness.