Mantecatura, 2025, mix media, variable size. Mantecatura solo show at Michel Rein Gallery
In Sébastien Bonin’s latest solo exhibition, La Mantecatura is Savoie — the missing link in the artist’s body of work. This mountainous French region bordering Italy embodies a part of the artist’s identity and family heritage, from which he draws to give his personal experience a universal resonance. In Bonin’s artistic universe, the mountain and rural life connect identities, eras, and techniques, nurturing and shaping his work.In painting, Sébastien Bonin is above all drawn to the assemblage of colors, composition, and framing. Here, he presents his own distinctive cutouts, combining three-dimensional and two-dimensional elements to create a layered exhibition — both spatially and in terms of meaning.
The works first reveal a play of dichotomies that establishes a constant tension between the personal and the universal, the ancestral and the contemporary, the handcrafted and the manufactured, the fundamental and the anecdotal, the timeless and the fleeting — all elevated by the evocation of mountain life.
Then comes the elevation of everyday agricultural tools and objects — such as the blueberry comb or the water channel — to the rank of sculpture, by reproducing them through modern techniques or altering their structure until they lose all functionality, as with the pair of clogs or the bells. This artistic gesture speaks to the curiosity and drive with which Bonin approaches the world and its transformations. The works carry a sense of nostalgia, where contemporaneity replaces the patina of time.
Ultimately, what strikes most in Mantecatura is the central place given to memory. Sébastien Bonin’s work resembles a quest that is both intimate and collective. Through his creations, he brings to light those seemingly trivial elements that shape us — individually and as a society.
The result is a narrative that is deeply personal yet universal, carried by Bonin’s ability to reveal, beneath the surface of the everyday, an entire memory — that of rural life, of the Alps, and of himself. With this exhibition, the artist invites us to dive into the heart of his childhood, which becomes a mirror for our own relationship to the past, to place, and to the objects that connect us.
Perhaps that is what la mantecatura ultimately represents — a binding agent between the intimate and the collective, that tension between two worlds that gives our memories their particular flavor. And there, at that point of fusion, we reach the very core of Sébastien Bonin’s artistic practice: images that speak of the world, oscillating between personal reminiscence and social reflection.
Mantecatura, 2025, mix media, variable size. Mantecatura solo show at Michel Rein Gallery
In Sébastien Bonin’s latest solo exhibition, La Mantecatura is Savoie — the missing link in the artist’s body of work. This mountainous French region bordering Italy embodies a part of the artist’s identity and family heritage, from which he draws to give his personal experience a universal resonance. In Bonin’s artistic universe, the mountain and rural life connect identities, eras, and techniques, nurturing and shaping his work.In painting, Sébastien Bonin is above all drawn to the assemblage of colors, composition, and framing. Here, he presents his own distinctive cutouts, combining three-dimensional and two-dimensional elements to create a layered exhibition — both spatially and in terms of meaning.
The works first reveal a play of dichotomies that establishes a constant tension between the personal and the universal, the ancestral and the contemporary, the handcrafted and the manufactured, the fundamental and the anecdotal, the timeless and the fleeting — all elevated by the evocation of mountain life.
Then comes the elevation of everyday agricultural tools and objects — such as the blueberry comb or the water channel — to the rank of sculpture, by reproducing them through modern techniques or altering their structure until they lose all functionality, as with the pair of clogs or the bells. This artistic gesture speaks to the curiosity and drive with which Bonin approaches the world and its transformations. The works carry a sense of nostalgia, where contemporaneity replaces the patina of time.
Ultimately, what strikes most in Mantecatura is the central place given to memory. Sébastien Bonin’s work resembles a quest that is both intimate and collective. Through his creations, he brings to light those seemingly trivial elements that shape us — individually and as a society.
The result is a narrative that is deeply personal yet universal, carried by Bonin’s ability to reveal, beneath the surface of the everyday, an entire memory — that of rural life, of the Alps, and of himself. With this exhibition, the artist invites us to dive into the heart of his childhood, which becomes a mirror for our own relationship to the past, to place, and to the objects that connect us.
Perhaps that is what la mantecatura ultimately represents — a binding agent between the intimate and the collective, that tension between two worlds that gives our memories their particular flavor. And there, at that point of fusion, we reach the very core of Sébastien Bonin’s artistic practice: images that speak of the world, oscillating between personal reminiscence and social reflection.
Le paradis, 2023, polyptych, oil on canvas,
variable size, 2023 at Chapelle Horta (CHU Brugmann)
GEZONDHEID, group exhibition curated by Emmanuelle Indekeu with Sébastien Bonin, Paulo Nazareth,
Bocar Niang, Jean-Luc Moulène, Mai-Thu Perret, Laure Prouvost & Franck Scurti.
“Modern Paradise” is a multi-panel painting that explores the concept of paradise for a living being in our contemporary era while exposing the flaws of our society. Through varied scenes, the artwork illustrates how technology, consumerism, manipulation of nature, and individualism are perceived as pathways to happiness. However, each panel reveals the contradictions and illusions within these pursuits. By depicting disconnected, overworked, and isolated figures, the painting critiques our dependence on these artificial ideals and invites reflection on the true sources of happiness and well-being.
Le paradis (détail) 2023, polyptych, oil on canvas,
220 cm x 160 cm , 2023 at Chapelle Horta (CHU Brugmann)
GEZONDHEID, group exhibition curated by Emmanuelle Indekeu with Sébastien Bonin, Paulo Nazareth,
Bocar Niang, Jean-Luc Moulène, Mai-Thu Perret, Laure Prouvost & Franck Scurti.
“Modern Paradise” is a multi-panel painting that explores the concept of paradise for a living being in our contemporary era while exposing the flaws of our society. Through varied scenes, the artwork illustrates how technology, consumerism, manipulation of nature, and individualism are perceived as pathways to happiness. However, each panel reveals the contradictions and illusions within these pursuits. By depicting disconnected, overworked, and isolated figures, the painting critiques our dependence on these artificial ideals and invites reflection on the true sources of happiness and well-being.
Le paradis (détail) 2023, polyptych, oil on canvas,
220 cm x 160 cm , 2023 at Chapelle Horta (CHU Brugmann)
GEZONDHEID, group exhibition curated by Emmanuelle Indekeu with Sébastien Bonin, Paulo Nazareth,
Bocar Niang, Jean-Luc Moulène, Mai-Thu Perret, Laure Prouvost & Franck Scurti.
“Modern Paradise” is a multi-panel painting that explores the concept of paradise for a living being in our contemporary era while exposing the flaws of our society. Through varied scenes, the artwork illustrates how technology, consumerism, manipulation of nature, and individualism are perceived as pathways to happiness. However, each panel reveals the contradictions and illusions within these pursuits. By depicting disconnected, overworked, and isolated figures, the painting critiques our dependence on these artificial ideals and invites reflection on the true sources of happiness and well-being.
Isola, 2023, mix media at Michel Rein
ISOLA, group exhibition curated by Emmanuelle Indekeu with Sébastien Bonin, Julien Meert, mountaincutters at Michel Rein.
In the track Bora Vocal by Rone — one of the leading artists on the electronic scene — you can hear Alain Damasio’s call to isolate himself. The great voice of French sci-fi intends to create his own island in order to write his novel La Horde du Contrevent: «Alain, ‘La Horde du Contrevent’ will only be a success – only if what – if you isolate yourself. If you isolate yourself damn it. Do you understand what ‘isolated’ means? Isola, the island damn. You create your island, and you avoid it as much as possible, you know. People have to be extremely far away from you, but far away, because your universe will be vast, what, it’ll be immense, it’ll be huge, it’ll be an enormous universe, what. Enormous universe power.» – extract from the track Bora vocal.
Le cube, 2023, wood, chicken bones
25 x 27 x 24 cm (9.84 x 10.63 x 9.45 in.) at Michel Rein
In the track Bora Vocal by Rone — one of the leading artists on the electronic scene — you can hear Alain Damasio’s call to isolate himself. The great voice of French sci-fi intends to create his own island in order to write his novel La Horde du Contrevent: «Alain, ‘La Horde du Contrevent’ will only be a success – only if what – if you isolate yourself. If you isolate yourself damn it. Do you understand what ‘isolated’ means? Isola, the island damn. You create your island, and you avoid it as much as possible, you know. People have to be extremely far away from you, but far away, because your universe will be vast, what, it’ll be immense, it’ll be huge, it’ll be an enormous universe, what. Enormous universe power.» – extract from the track Bora vocal.
Black Maria, solo show at Michel Rein.
“The Black Maria” is to cinema what the camera obscura is to photography. A term previously used for police vans, Thomas Edison’s employees applied it to this other black box on wheels, the first studio in the history of cinema. An enclosed, abstract space, open to the sky of possibilities, the Black Maria permits dreams and even exists solely to produce them. From this point on, the simulacrum becomes a central element whose function is to reveal. This “semblance” is constructed by isolating a single element in the image or, conversely, by accumulating a mass of information. ©Emmanuelle Indekeu
Le balcon, 2020, 140 x 200 cm, oil on canvas at Michel Rein
“The Black Maria” is to cinema what the camera obscura is to photography. A term previously used for police vans, Thomas Edison’s employees applied it to this other black box on wheels, the first studio in the history of cinema. An enclosed, abstract space, open to the sky of possibilities, the Black Maria permits dreams and even exists solely to produce them. From this point on, the simulacrum becomes a central element whose function is to reveal. This “semblance” is constructed by isolating a single element in the image or, conversely, by accumulating a mass of information. ©Emmanuelle Indekeu
“DOCUMENTI”, 2020, exhibition view at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
Descente de croix, 120 cm x 160cm, oil on canvas
at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
DOCUMENTI”, 2020, exhibition view at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
DOCUMENTI”, 2020, exhibition view at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
J’aime/Je n’aime pas”, 14,8 cm x 21 cm, ink on paper, 2020, exhibition view at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
“A l’arrière plan, le nouveau pont” at Montecristo Project.
“Cloudy I, 24 x 29 cm, 2018, oil on canvas” at Montecristo Project.
“A l’arrière plan, le nouveau pont” at Montecristo Project.
“La chose qui nous regarde depuis la jungle” , 2017, oil on canvas, 200 x 140 cm. Exhibition view at Island.
“16 rue Gabriel Pérouse” 2017, straw and silver wire, 10 x 16 x 9 cm.
“the hatefull eight_01” chromogenic-print, 127 cm x 145 cm, brass. exhibition view at D+T Project
-“I use transparent cellophane sheets as a creative medium, on which I draw patterns inspired by Navajo blankets, often depicted in Hollywood films. Once traced, these patterns become matrices for the creation of contact photographs, a process similar to that of photograms. By overlaying the cellophane onto light-sensitive photo paper, exposure to light reveals the drawn shapes, playing with light and shadow to bring out the motifs and explore the interaction between popular visual culture and indigenous representations”.
Dialogue with Stephan Balleux in my studio
“Lens na Spinoza” Exhibition view at Croxhapox
My photographic practice reimagines the process of enlargement by drawing inspiration from cinematic tracking shots. I use a photo enlarger mounted on a wheeled cart, allowing it to move freely across the photographic paper. Just as a camera on a dolly captures a scene in motion, my enlarger travels during the exposure, creating a dynamic interaction between light and the surface. This approach deconstructs the image, introducing variations and blurs that reinterpret the original forms. The images I work with come from reproductions of mountains, photographed from books. These unchanging landscapes become the ground for transformation, where the movement of the enlarger and the randomness of the process add a new dimension to the peaks and valleys, hovering between reality and abstraction. The final result is an exploration of time and motion within a static image, echoing the illusion of movement in cinema.
Mantecatura, 2025, mix media, variable size.
Mantecatura solo show at Michel Rein Gallery
In Sébastien Bonin’s latest solo exhibition, La Mantecatura is Savoie — the missing link in the artist’s body of work. This mountainous French region bordering Italy embodies a part of the artist’s identity and family heritage, from which he draws to give his personal experience a universal resonance. In Bonin’s artistic universe, the mountain and rural life connect identities, eras, and techniques, nurturing and shaping his work.
In painting, Sébastien Bonin is above all drawn to the assemblage of colors, composition, and framing. Here, he presents his own distinctive cutouts, combining three-dimensional and two-dimensional elements to create a layered exhibition — both spatially and in terms of meaning.
The works first reveal a play of dichotomies that establishes a constant tension between the personal and the universal, the ancestral and the contemporary, the handcrafted and the manufactured, the fundamental and the anecdotal, the timeless and the fleeting — all elevated by the evocation of mountain life.
Then comes the elevation of everyday agricultural tools and objects — such as the blueberry comb or the water channel — to the rank of sculpture, by reproducing them through modern techniques or altering their structure until they lose all functionality, as with the pair of clogs or the bells. This artistic gesture speaks to the curiosity and drive with which Bonin approaches the world and its transformations. The works carry a sense of nostalgia, where contemporaneity replaces the patina of time.
Ultimately, what strikes most in Mantecatura is the central place given to memory. Sébastien Bonin’s work resembles a quest that is both intimate and collective. Through his creations, he brings to light those seemingly trivial elements that shape us — individually and as a society.
The result is a narrative that is deeply personal yet universal, carried by Bonin’s ability to reveal, beneath the surface of the everyday, an entire memory — that of rural life, of the Alps, and of himself. With this exhibition, the artist invites us to dive into the heart of his childhood, which becomes a mirror for our own relationship to the past, to place, and to the objects that connect us.
Perhaps that is what la mantecatura ultimately represents — a binding agent between the intimate and the collective, that tension between two worlds that gives our memories their particular flavor. And there, at that point of fusion, we reach the very core of Sébastien Bonin’s artistic practice: images that speak of the world, oscillating between personal reminiscence and social reflection.
Le paradis, 2023, polyptych, oil on canvas,
variable size, 2023 at Chapelle Horta (CHU Brugmann)
Bocar Niang, Jean-Luc Moulène, Mai-Thu Perret, Laure Prouvost & Franck Scurti.
“Modern Paradise” is a multi-panel painting that explores the concept of paradise for a living being in our contemporary era while exposing the flaws of our society. Through varied scenes, the artwork illustrates how technology, consumerism, manipulation of nature, and individualism are perceived as pathways to happiness. However, each panel reveals the contradictions and illusions within these pursuits. By depicting disconnected, overworked, and isolated figures, the painting critiques our dependence on these artificial ideals and invites reflection on the true sources of happiness and well-being.
Le paradis (détail) 2023, polyptych, oil on canvas,
220 cm x 160 cm , 2023 at Chapelle Horta (CHU Brugmann)
Bocar Niang, Jean-Luc Moulène, Mai-Thu Perret, Laure Prouvost & Franck Scurti.
“Modern Paradise” is a multi-panel painting that explores the concept of paradise for a living being in our contemporary era while exposing the flaws of our society. Through varied scenes, the artwork illustrates how technology, consumerism, manipulation of nature, and individualism are perceived as pathways to happiness. However, each panel reveals the contradictions and illusions within these pursuits. By depicting disconnected, overworked, and isolated figures, the painting critiques our dependence on these artificial ideals and invites reflection on the true sources of happiness and well-being.
Le paradis (détail) 2023, polyptych, oil on canvas,
200 cm x 160 cm , 2023 at Chapelle Horta (CHU Brugmann)
Bocar Niang, Jean-Luc Moulène, Mai-Thu Perret, Laure Prouvost & Franck Scurti.
“Modern Paradise” is a multi-panel painting that explores the concept of paradise for a living being in our contemporary era while exposing the flaws of our society. Through varied scenes, the artwork illustrates how technology, consumerism, manipulation of nature, and individualism are perceived as pathways to happiness. However, each panel reveals the contradictions and illusions within these pursuits. By depicting disconnected, overworked, and isolated figures, the painting critiques our dependence on these artificial ideals and invites reflection on the true sources of happiness and well-being.
Isola, 2023, mix media at Michel Rein
In the track Bora Vocal by Rone — one of the leading artists on the electronic scene — you can hear Alain Damasio’s call to isolate himself. The great voice of French sci-fi intends to create his own island in order to write his novel La Horde du Contrevent: «Alain, ‘La Horde du Contrevent’ will only be a success – only if what – if you isolate yourself. If you isolate yourself damn it. Do you understand what ‘isolated’ means? Isola, the island damn. You create your island, and you avoid it as much as possible, you know. People have to be extremely far away from you, but far away, because your universe will be vast, what, it’ll be immense, it’ll be huge, it’ll be an enormous universe, what. Enormous universe power.» – extract from the track Bora vocal.
Le cube, 2023, wood, chicken bones
25 x 27 x 24 cm (9.84 x 10.63 x 9.45 in.) at Michel Rein
In the track Bora Vocal by Rone — one of the leading artists on the electronic scene — you can hear Alain Damasio’s call to isolate himself. The great voice of French sci-fi intends to create his own island in order to write his novel La Horde du Contrevent: «Alain, ‘La Horde du Contrevent’ will only be a success – only if what – if you isolate yourself. If you isolate yourself damn it. Do you understand what ‘isolated’ means? Isola, the island damn. You create your island, and you avoid it as much as possible, you know. People have to be extremely far away from you, but far away, because your universe will be vast, what, it’ll be immense, it’ll be huge, it’ll be an enormous universe, what. Enormous universe power.» – extract from the track Bora vocal.
Black Maria, solo show at Michel Rein.
“The Black Maria” is to cinema what the camera obscura is to photography. A term previously used for police vans, Thomas Edison’s employees applied it to this other black box on wheels, the first studio in the history of cinema. An enclosed, abstract space, open to the sky of possibilities, the Black Maria permits dreams and even exists solely to produce them. From this point on, the simulacrum becomes a central element whose function is to reveal. This “semblance” is constructed by isolating a single element in the image or, conversely, by accumulating a mass of information. ©Emmanuelle Indekeu
Le balcon, 2020, 140 x 200 cm, oil on canvas at Michel Rein
“The Black Maria” is to cinema what the camera obscura is to photography. A term previously used for police vans, Thomas Edison’s employees applied it to this other black box on wheels, the first studio in the history of cinema. An enclosed, abstract space, open to the sky of possibilities, the Black Maria permits dreams and even exists solely to produce them. From this point on, the simulacrum becomes a central element whose function is to reveal. This “semblance” is constructed by isolating a single element in the image or, conversely, by accumulating a mass of information. ©Emmanuelle Indekeu
“DOCUMENTI”, 2020, exhibition view at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
Descente de croix, 120 cm x 160cm, oil on canvas
at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
DOCUMENTI”, 2020, exhibition view at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
DOCUMENTI”, 2020, exhibition view at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
J’aime/Je n’aime pas”, 14,8 cm x 21 cm, ink on paper, 2020, exhibition view at Botanique (Centre Culturel de la Fédération Wallonie-Bruxelles).
Contemporary painting continues to reinvent itself by drawing from its rich past and experimenting with formulas that are more or less invisible and consistent with the aesthetics of the time. With digital influences being prominent today, many images – and of course painting, both abstract and figurative – are composed of links that are more or less simple or complex between multiple subjects that converge. This approach was also used in pop art and in the so-called relational art of the 1970s. Sébastien Bonin’s current visual work is precisely at the forefront of all these elements in terms of design and layout. He borrows, extracts, redefines, and reassembles to create invisible images.
“LM ART & CULTURE (Hauts-de-France/Belgium)”
“A l’arrière plan, le nouveau pont” at Montecristo Project.
“Cloudy I, 24 x 29 cm, 2018, oil on canvas” at Montecristo Project.
“A l’arrière plan, le nouveau pont” at Montecristo Project.
“La chose qui nous regarde depuis la jungle” , 2017, oil on canvas, 200 x 140 cm. Exhibition view at Island.
“16 rue Gabriel Pérouse” 2017, straw and silver wire, 10 x 16 x 9 cm.
“the hatefull eight_01” chromogenic-print, 127 cm x 145 cm, brass. exhibition view at D+T Project
-“I use transparent cellophane sheets as a creative medium, on which I draw patterns inspired by Navajo blankets, often depicted in Hollywood films. Once traced, these patterns become matrices for the creation of contact photographs, a process similar to that of photograms. By overlaying the cellophane onto light-sensitive photo paper, exposure to light reveals the drawn shapes, playing with light and shadow to bring out the motifs and explore the interaction between popular visual culture and indigenous representations”.
Dialogue with Stephan Balleux in my studio
