Angélique Aubrit's (France, 1989) works are very often made of textile - following the principles of DIY - as much out of necessity as for the aesthetic that emerges. Her creations feature narratives of floating characters, present or absent, affected by disappointing, even despairing social situations. Inspired by genre cinema and recent philosophy, his dark narrative axes take shape in shapeless, liquefied or slumped creations. There appears a soft destruction in cheap, shiny silk fabrics, seemingly straight out of a kitschy American middle-class lodge interior of the 70s. There reigns then a neurotic psychological state, close to madness, but which would not let itself be observed from the outside, because it concerns as much the observer as the observed. Because the artist does not keep the visitor at a distance in her environments. She includes him in the uneasiness as a stakeholder, as if each work seemed to say to the one who meets it: "this could be you...". (text by Benoît Lamy)
Ludovic Beillard (France, 1982) lives and works in Bordeaux. ‘His art leads to a universe where stories, legends, theatre of the absurd and medieval imaginations combine with our contemporary era in its most brutal and foggy way: the artist seeks in his contemporaries how the cases of people seeking to move away from society evolve and externalise, such as in the past, Franciscan monks, recluses and today, «enlightened» characters, mole men living in the basements of cities, etc. He is particularly interested in how they build their living environment according to their means, creating real sets for a theatre of which they would be the only spectators.’
Geert Marijnissen (Belgium, 1993) lives and works in Ghent. ‘Despite his young age, and despite being part of a generation of fast-paced ‘digital natives, Geert Marijnissen’s practice as a painter comes across as being remarkably slow, characterized as it is by unceasing, consistent contemplation. Even though his technique might seem careless, Marijnissen sometimes spends literally months crafting his paintings in his studio. He often repaints these images – whether recent or months or even years old – with several layers, thus constructing, deconstructing, and reconstructing past (and future) actions. That is why, in Marijnissen ’s work, the evidence of many preceding decisions filters through, and remains partly visible to the spectator. This slow approach of repainting is illustrative of his continuous oscillation between intuition and thoughtfulness, boldness and doubt – lending his paintings a mature and elaborate depth as well as a tactile vulnerability.’ (Excerpt of text by Thibaut Verhoeven, Gent, 2019)
Felipe Talo (Barcelona, 1979) studies Philosophy and Fine Arts at the University of Barcelona ( Spain) as well as engraving and mosaics at the University of Ravenna (Italy). He develops his work around painting, which he endows with a strong narrative character, although in many of his projects his pictorial work expands into other disciplines such as installation, video or performance. This allows him to use the exhibition space as a mechanism of exploration to create a work that revolves around the ontological dimension of art and uses an intricate network of heteronomies to confront it from different points of view; contradictory questions such as the mysterious and the logical, death and creation or real and illusion.