Painting There are 17 products.

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  • . Benjamin Bichard
    Benjamin Bichard keeps track of a multitude of forgotten and common items and makes them seem “organic” and new. Crude and useful objects, objects for which, due to the fact we use them daily, we lost sight for, are made anew. Further inspection of his sculptures, like crystal chandelier and dripping fountain erected at the center of a gallery, reveals that, for us, their past forms had no obvious intrinsic beauty, a beauty that comes fully revealed by simple means of camouflage. The fountain sponges are synthetic and the chandelier is made out of plastic knives. The visual illusion is very effective and compels the observers to rethink their views of the objects that inhabit our daily lives. They remind us of negative strength that mass production and serialism exude upon our appreciation for the simplistic beauty of common objects, the fragility of life and invaluable banality of days that accumulate. Bichard rightfully recognizes that those objects witness the most intimate acts of our lives, and breathes in them new values that force us to, once more, appreciate their refinement.
     
    Pencil peelings covering the bench, the smell of ligneous flakes, the sound of a pencil sharpener and abstract flowers we unintentionally made by discarding the wooden shavings, all remind us of our carefree childhoods and delicacy we have so easily forsaken. Accessing Bichard’s world feels as if we are recovering lost time and are filling in the void made by the absence of adolescent innocence, it dissipates with time and makes us feel like coming home. Just like chrysalis the butterfly leaves behind disappear, we tend to forget the very existence of the tracks that preceded our venture into adulthood that brought with it a complete loss of appreciation for innate beauty that simple, palpable objects radiate.
     
    With an obvious tendency for monomania, the artist accumulates all things disposable and stands at the pulpit giving praise to the beauty of insignificant and ephemeral. The show will be available for all to witness starting on March 17th and ending on April 23rd, 2016, at Galerie Géraldine Banier, Paris.
     
    Benjamin Bichard was born in Nice, France, in 1982. He’s graduated from the famous Villa Arson in 2010.
    After his studies he lived few years in Paris and was selected by the 57th Montrouge Salon for the young creation where he was discovered by Geraldine Banier gallery. In 2014 he came back to his native city, He still lives and works at Nice today.
  • . Jung Min Choi
    Jung Min Choi is a Korean artist, born in Seoul in 1973.
    Doctor in Plastic Arts, University of Paris VIII, Sorbonne.
     
    He settled down in France in 1999. In 2001,
    he began his thesis at the Sorbonne, Paris, about stylistic persistence in art history. These
    writings and his work as a correspondent for two Korean newspapers not only mark out and
    guide his personal creations in recovery and appropriation of news feed, but also revisit
    the perpetual patterns in art history.
    He had a solo show at Art Paris Art Fair in 2014, where the "Great Days" 2013,
    365 drawings were shown, along with major sculptures and paintings.
  • . David Gouny

    Lago Lino was born in Spain in 1973, he’s graduated from the Compultense University of Madrid,

    he lives and works in Lithuania. 

    From the beginning of his studies, Lino Lago questions the place of the work of art in the

    contemporary world, and more particularly that of painting. Often by the absurd, he saw the canvases

    of Masters; always with humor, disfigures them by great tasks thrown at the chance of his gesture.

    Jubilatory act. He plays with classical references, exploring through them, the relationship to art.

    His recognized work is present in several institutional and private collections.

  • . Fulati Tayierjiang
    Born in 1977 to Xinjiang, China, Fulati Tayierjiang lives and works in Paris today.
    57th Salon of Montrouge.
     
    His work explores the idea of the integration of an individual in the society and looks for
    a relation between him and things, between its body and the landscapes. His approach
    associates painting and photography: originally a simple paint on cliché. 
    From 2006, he begins a series of photos of his painted hand, as continuation or
    misappropriation of the landscape. The hand is the central element, the representative
    himself and his being, telling its story. The lines of the hand are in the landscape, they
    establish themselves there and confront with it, as the slow process of integration of
    an individual in a new culture.
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Showing 1 - 15 of 17 items
Showing 1 - 15 of 17 items