专家评选

Born in 1995 in Versailles and recently graduated from Villa Arson in Nice, Perrine Boudy has been drawing since childhood. Drawing has been her primary space for freedom and expression, becoming a favored refuge and a place to question her identity. The pages of her sketchbooks are filled with her obsessions, the primary sources of inspiration - ancient Greece and Rome, the canvases of Renaissance painters, from which she draws recurring motifs in her compositions (plates, jars, vases, columns, horses, etc.). The reinterpretation of ancient forms and figures from the perspective of a queer woman in the 21st century lies at the heart of the young artist's work and research. Perrine Boudy conceives of drawing in its most comprehensive dimension, both decorative and experimental. She claims and renews its practice, continually pushing the boundaries and scales, extending her bold and generous stroke from sketchbook to wall and object, reinvigorating the ancient arts of frescoes and ceramics. Recognized early on during her studies at Villa Arson, her work is currently on display at the See gallery in Paris as part of the collective exhibition "Utopia Now" until September 23rd. Additionally, from September 1st to 3rd, it can be seen at the 2023 edition of Paréidolie, the international contemporary drawing fair in Marseille, at the Valérie Delaunay gallery's booth.

Born in 1970, Caroline Rennequin develops a multidisciplinary practice where the relationship between craftsmanship, popular culture, non-Western art and contemporary art hold a special place. Three years ago, in 2020, Caroline Rennequin produced a series of 301 gouaches of identical format on handmade Indian cotton paper, 301 variations around the theme and the universal motif of the flower. Both similar and unique, each resembles the other and is distinguished by its composition and the combination of its colors. With this series, inspired by the folk art and cartoons of her childhood, Caroline Rennequin confirms her talents as a colorist, her ability to renew herself through repetition and to bring out the sensitive. Under his brush, the flowers come to life. “I had finally just expressed all the empathy I felt for nature,” the artist explains. Obsessive and playful, the series marks the beginning of a new period in his career, which began in the mid-1990s when he graduated from the Arts Décoratifs de Paris, and gives him increased visibility. "Flowers" will be partly shown in the monographic exhibition "Metamorphoses, 1997-2022" dedicated to him by the Jean Fournier gallery in Paris at the end of 2022, alongside recent and older works - paintings and volumes - where fictional and mutating nature by Caroline Rennequin comes into its own and invites new and exciting perspectives.

YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing. 1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video. 2/ Gaby Sahhar exhibits the Europe-Palestine project at Spiaggia Libera. Her paintings and drawings deal with the construction of identity linked to migration and gender identity. The series reveals hybrid architectures, between European capitals and the West Bank, and bears witness to the artist's phycho-affective context. 3/ Galerie in situ presents the sociological work of young visual and performance artist Oroma Elewa. In large-format photo and text tableaux, the artist questions the image of black women and the stereotypes associated with their cultural identity. 4/ At Gilles Drouault, artist Johannes Sivertsen draws inspiration from the great masters of classical painting, such as Delacroix, to question the mechanisms of power within dominant groups, and bears witness to the dual process of otherness and hostility towards minorities.

Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous. Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or pencil with rainbow colors. These founding, free and transgressive figures are also reproduced in his works on canvas and paper. Far from the selfie and close to the homage, the images of Poleo-Garnier, a transformist artist heir to the pioneers Barbette, Claude Cahun and Manon, blend eras, genres and mediums, building aesthetic and sensitive bridges between the 20th and 21st centuries, between the visual arts and the performing arts.

Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space. The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's clichés born of an immobile voyage. Representations of that which is not visible from our own point of view fuel both hopes and fears. Blaise Schwartz asks us: are we strangers to our own world? What is invisible arouses curiosity and leaves potential room for a new apprehension of space, as illustrated by Yannis Khannoussi. But the unknown remains a threat. Space images offer a window onto distant worlds, but also materialize the extent of our ignorance, stimulating our desire to discover, feeding the fantasy of another form of life, but also scientific research, supporting the need to explore the abysses of our galaxy.

Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The first is based on violent news images, which she reframes and redraws in her own way. The second seeks to depict atmospheres, worlds, seascapes or forests. For Houston Maludi, it's the accumulation of details that leads to a form of indeterminacy. From a distance, the compositions resemble an abstract motif. Up close, an urban landscape comes to life. Charles Le Hyaric, for his part, seeks to mimic "what we perceive of this great whole called nature". He entitles his canvas "Ouvrir les yeux sous l'eau" ("Open your eyes under water"). And everything naturally becomes a blur. English artist Jack Warne, who suffers from a hereditary corneal disease, manipulates the source photographic image to create compositions in which real objects stand out. These works are best viewed with eyes half-closed, to gain new insights into our world and theirs.