Paréidolie 2024

Our booth will focus on the work of Claire Vaudey. A graduate of the Beaux-Arts in Paris, Claire Vaudey first became interested in still life, composing scenes from models she made from preparatory drawings and objects she arranged and photographed before painting them, more specifically in gouache.

It's a new body of work, never before exhibited and on which the artist has been working for the past two years, that we wish to highlight at Paréidolie. In these new works, the artist does not abandon the 3D models that form the basis of her paintings, nor the bold colors of gouache, but turns to tempera on paper - creating her own paint from pure pigments and eggs - enabling her to work in greater depth with flat tints and shadows. For this new series, entitled Espaces clos, the artist is freely inspired by the Annunciations and walled gardens of the Italian Renaissance. Here, she combines her painting on paper with the silkscreen technique - also using tempera - to create material effects that deliver subtle depth effects in her architectural compositions. This series of silent, empty drawings leaves plenty of room for the pleasure of geometry, construction, repetition and color, oscillating between abstraction and figuration - a figuration that is accentuated when his drawings are inspired by myths, such as that of Philomela from Ovid's Metamorphoses. Violated and isolated by her brother-in-law, Philomèle takes revenge by making him eat her son and, to escape his wrath, transforms herself into a swallow. These references are a way for the artist to anchor her work in contemporary concerns, evoking the liberation of women's voices in a poetic way.

Claire Vaudey's body of work will occupy two-thirds of our booth, and will comprise large formats measuring 81 × 100 cm and a set of medium formats measuring 46 × 55 cm.

The final third of our booth will be devoted to the graphic work of Caroline Corbasson, nominated for the Drawing Now Prize in 2024. Our presentation will focus on one series in particular, entitled Dust to Dust. In this series, the artist seeks to represent the infinitely large through the infinitely small, and more specifically through the use of grains of dust gleaned from her travels in desert zones (Atacama, Al-'Ula...). The dust is placed on the sheet of paper, which is covered with graphite powder and then removed, leaving only traces, evoking the infinity of the universe and the Milky Way.