Votre Art à ma façon
The process of designing arty and unique dresses by JUSTE UNE IMPRESSION being fundamentally an artistic process, it seemed obvious to me that this could be applied to other contemporary works, obviously with the agreement of their authors.
The idea being
to transpose art where we do not necessarily expect it (Pop Art, right?),
to focus differently on these artists to give them visibility,
but also and above all to give another perspective to the original work.
The photographs of the works are reworked (in particular in color density, sizes) before being printed and inked in the textile fiber permanently and indelibly ( no alteration whatever the number of machine washes at 30 ° ). The patronage is done manually by the designer in a subjective way to give a new perspective to the initial work necessarily truncated by the trapezoid cut of the dress.
Each Dress / work was made in 1 unique copy. It was agreed that reissues on order could be made but within the limit of 10 copies maximum numbered and signed by the artists.
Certificate of authenticity provided.
Even if this exercise of highlighting artistic works through my textile design process is a priori transposable to a certain number of works, I have the postulate to choose both the works and the artists themselves, the human being as important to me as the work itself.
As a graphic designer, designer and creator, I have a graphic & aesthetic line ... as an artistic line of conduct, an editorial line for a coherent overall aesthetic & graphic.
These artistic collaborations have imposed themselves as aesthetic and human evidence, drawing from their respective universes other possible variations of my emblematic brand dresses.
French photographer Gilles Ouaki began his career through photojournalism, a real lifeline for this suburban child who could have turned inside out.
He finds his way, becoming the eyes of others. For twenty years, Gilles Ouaki, in turn a great reporter for the Parisian and then at Paris-Match, followed the news from the news to the glamor of the stars. Mesrine, Action Directe, Carlos, Ouaki's goal sublimates the death of a gangster or the smile of people. Between an evocation of Warhol's “electric chair” or Monory's “murders”, his pictures offer a direct relationship with realism. Ouaki obtained, in 1982, the Grand Prix of the City of Paris and the Grand Prix Paris Match for his work.
At the same time, the artist photographer develops a passion for contemporary art: "Artists are beacons that light up the world and our world needs it"! In 1998, Ouaki took the plunge and became a performer by exposing to FIAC the boss of Free Figuration, Robert Combas for “The Wall”, controlled hallucination of glittery graffiti and photos denouncing the modern man walled in “prison-society ”.
Gilles Ouaki is an artist of his time who provokes improbable encounters. Hunter of emotions, creator of dialogues, he does not forbid anything. In the Val d'Oise, in 2009 he established a new artistic biennial, "the Grand Bet [s] of Contemporary Art". The greatest artists were present: Wiliam Klein , ORLAN , Gérard Fromanger ...
In 2010, Gilles Ouaki joined the family of designers and presented his latest creation, Cheese during the tenth edition of Designer's Day. He offers a giant Brownie camera as a sofa, bookcase, plasma screen, lamp… a job which will earn him the qualification of “one of the most essential contemporary artists of his generation” (Current Art).
His talent is recognized by public and private actors on the art scene: from Designer's Day, Gilles Ouaki finds himself propelled to the Grand Palais to exhibit in solo show. He is presented as one of the 10 major world photographers at the “Paris Photo” 2010 show by Leica alongside Jane Evelyn Atwood or Stanley Green. The same year, for the 30 years of the L'Eclaireur conceptstore, Armand Hadida entrusted Gilles Ouaki with the organization of a performance for this anniversary.
But Gilles Ouaki especially appreciates the experience of percolation and hybridization: with Bye-Bye Polaroïd in 2009, he celebrated the end of the Polaroïd by developing a work of “sharing” with his artist friends. Objective: produce snapshots that become the support for a new work. Arman , Ben, Robert Combas, Bernard Venet, Nathalie Elemento, Fabrice Hyber, Joël Hubaut, Jean-Paul Goude, Erro, Monory, Orlan, Rancillac, Pierre Soulages, Jacques Villeglé, Yann Queffélec all responded!
In 2012, he did it again; this time, the work of alchemy works with the greats of Street Art, invited to intervene on vintage shots of the artist Ouaki. These black and white gangster and street images are revisited by streetarters. Result: Cope2, Faucheur, Monsieur Chat, Speedy Graphito, Konny, ThomThom, Paella ... 43 street art artists participate in NB & Coulour. But the artist does not forget his work as Performer, on the Pont des Arts with the operation I Lock You, Gilles Ouaki releases and breaks the padlocks of the mythical Parisian Bridge to immortalize them in large format at the Carrousel du Louvre during the Tranoï 2012.
After a decade of reflection devoted to geometric compositions, Jean-Michel Gnidzaz today breaks with pure abstraction, and gives a new orientation to his work. Since 2003, he has initiated a new series of portraits devoted to cultural icons of the 20th century. Struck by the persistence in the collective unconscious of certain images or photographs of major cultural personalities of the 20th century, in particular those which are synonymous with a rebellion against the established order, Jean-Michel Gnidzaz questions here their iconic status. By neutralizing the background of the original photography, by recomposing the portrait from games of bi and tri-color, flat and alternating colored bands which reintroduce a certain kineticism, it deprives these incunabula of contemporary history of an identification too immediate. Thus discarded for a moment from the consensus, from the agreed respect that is usually reserved for them, these popular idols find a certain capacity to harass the spectator. The process pushes us to take a quick historical step back to evolve our questions: what would the Beatles, James Dean, or even Coluche mean in our society today; what place will they occupy in the minds of future generations; will they escape the decorative status to which the mercantile exploitation of their image has relegated them? No one has the answer yet, but the work of Jean-Michel Gnidzaz wisely questions. This new series of portraits, and the flood of questions it raises are certainly posed as a new essential milestone in her artistic journey and makes us curious about her future developments.
Born in 1972, Anne Mondy is a designer who creates collages
and blends from an early age.
Daughter of actor and director Pierre Mondy, she has been swimming since
always in an environment where freedom of creation, originality and
artistic expression has a prominent place.
Anne develops her own imagination. She likes colors,
iconography and pop culture, street art, old comedies
musicals of MGM, the 80s, Soul music and series
American ... His passion for the plastic arts is quickly orientated
towards collages thanks to which she finds endless possibilities
For 23 years, she worked as press officer and director
artistic in the performing arts, while continuing the practice
of the visual arts confidentially.
Strong and enriched by this career, Anne decides, 3 years ago, to embark
in a new challenge, a new chapter and to broaden his horizons
professionals. She chooses to bring her
artistic activity and to devote oneself only to this one.
And why not… ?!
Qualified and inserted in the “STREET ARTIST” box, this highly sensitive self-taught free electron qualifies himself as “LOUNGE ARTIST”, because he works exclusively in his living room or kitchen.
After having worked for more than 10 years as a landscaper, he radically changed direction following a small accident in life and immersed himself in artistic creation through therapy.
he experiments with different and varied techniques to achieve this result, including the collage of posters collected from the streets, painting, digital retouching, stencils, etc.
Very influenced by Pop Art, he declines the icons from the 60s to the present day according to his desires and current events while integrating a little note of humor or a claim that concerns him.
POOKKY, that's its name, has decided to sign his works under different “crazy” pseudonyms in order to bring the viewer into his slightly crazy and quirky universe while including a part of mystery.
Philippe Wattez, allias Lipphi is a painter who has distinguished himself in a wide variety of pictorial fields: trompe l'oeil, the restoration of works of art, theatrical decor, the scenography of amusement parks ( in France, Italy, Spain, Dubai, Quebec, ...). From 2010 he developed a personal project, a traveling, fun, educational exhibition, for all audiences, entitled: “The Muses of Painters”. The project consists of 20 pastel canvases (100 x 80 cm) by the great masters of modern art (Matisse, Picasso, Dali, ...). To illustrate the point, the exhibition is accompanied by a popularization essay: " A light look at Modern Art " in which the painters are presented with a touch of humor but also erudition. Since 2015, the exhibition has been on view in several Italian cities including Pordenone and Venice as well as in France in Plougonvelin, Solliés-Ville, Libourne and Lille. In 2020 the exhibition will be enriched by ten new pieces, this time parodying the sculptors (Brancusi, Moore, César, ...). The set now made up of thirty pieces will be presented under the name: “ L'Atelier des Modernes ” In the spirit of an imaginary museum, “L'Atelier des Modernes” offers you through a necessarily somewhat restrictive selection , a representative overview of the history of modern art. The great masters are all too often presented with snobbery. The author of this project claims its offbeat aspect and access to the anecdotal so that it is within the reach of the greatest number.
Né à Grasse en 1965, Philippe Pasqua est un artiste-peintre autodidacte qui échappe aux institutions et aux circuits classiques. Il s’est inspiré de Francis Bacon et Lucian Freud et s’est imposé progressivement comme l’un des artistes majeurs de sa génération. Son art impressionne, bouscule et fascine.
Philippe Pasqua marque une étape dans son travail puisqu’il présente pour la première fois des autoportraits réalisés pendant le confinement, et célèbre un retour de la peinture dans une exposition "Monomaniaque". Il fait une démonstration magistrale de son obsession de toujours : l’art du portrait.
Dans cette série inédite, Philippe Pasqua s’est essayé à l’autoportrait, traité de la même façon que les autres sujets. Il se glisse dans l’ensemble discrètement et qui ne connait pas son visage pourrait passer à côté. Michel Lejeune aurait pu écrire ces mots pour ces œuvres : “… comment se fait-il qu’il n’y ait pas de signe interne qui permette de distinguer un autoportrait d’un portrait ?” Pasqua ne cherche en effet pas à se mettre en scène d’une façon ou d’une autre. Il ne fixe pas le spectateur à la manière de Dürer, ne rit pas comme Rembrandt, n’est pas en délire façon Courbet, en détresse tel Van Gogh, hautain à la Picasso ou à la Warhol. Lui est serein, apaisé et, comme beaucoup des sujets de l’exposition, les yeux fermés. Déstabilisant, puisque l’exercice du portrait nous habitue à un face à face où l’interaction passe par le regard. Troublant, car on ne peut s’empêcher de faire le rapprochement avec les masques mortuaires en cire du XIXe siècle. Mais ces yeux clos nous amènent malgré nous à souffler et à porter, à notre tour, un regard vers l’intérieur, à être à l’écoute de nos sensations, de l’invisible.
Très fière de sa confiance et de cette rencontre aussi improbable qu'incroyable,
Philippe PASQUA m'a proposé pour l'exercice plusieurs de ses portraits.
J'ai opté pour cet autoportrait
pour le (re)présenter. .. comme vous ne l'avez jamais vu.
à travers son dessin à la mine de plomb encré dans une robe unique,
une robe iconique dédiée cette fois à l'homme, l'artiste.
THE 3D GEOMETRICAL ART OF
The playful pop art of the photographer, cabinet maker and sculptor Jérôme Jasinski creates the surprising impression of an unexpected form of 30 art. One inevîtably thinks of the work of Vasarely, with its imaginative geometrical forms. But beyond that, there are also the astonishingly complex perspectives created by his shimme
ring palette of bright yellows and oranges, as well as the vibrant reds, that were so characteristic of the spirit of the Seventies and of his childhood in a family of artists.
His first contact with WOOd as a medium was also a major revelation. From that point on, he chose to focus on cabinet-making which he studied for four years. When he became a professional designer and creator of furniture and other objects. he spent his weekends creating original pieces for fun. and gave them to friends. His family encouraged him to share his work on Facebook and in a few days he was signing his first contract for an exhibition at the Galerie Sandrine Heerebout
Word of mouth did the rest and the response was enthusiastic. His work was noticed in a gallery in the Rue Blaes in Brussels by Michel Launoit. designer and director of the MIMA. who took him under his wing and organised one exhibition after another Orders for his pieces took off and soon he had become a full-time artist His first solo show at the B19 was soon followed by shows at The Belgian Gallery and the Salon Eurantica. at the Art Unity Gallery in Knokke from March 5-13 and at the Hamton Art Gallery 1n New York. ln just four short years. this previously unknown artist had sold over 200 unique works to art collectors.
What is the "Jasinski touch"? Spontaneous and persona! pieces of work which emerge from an instinctive process combined with the aesthetic pleasure of a clean, architectural finish. His ability to "see in 30" and his sense of the right finishing touch allow him it to create powerful kinetic and optical objects. The precision of his lines results from meticulous preparation with drawings and the study of proportions in 30, and a constant concern for consistency and pace.
The orchestration of one of his creations. which can sometimes consist of several hundred pieces. is in itself a performance. Like a magician, he uses optical tricks to play with the visible and the invisible and his visual effects change our perception of the volumes.
Finally, the spirit that characterises his worl< is without a doubt that of joy. Joy expressed both through his choice of colours - when he's net playing with black and white - and the titles of his creations, word plays in French such as "Pacômes Leszautres", "Sam Chatouille", "Alex Tazie", "Oino Zore" and so on.
This remarkable - and much noticed - work also succeeds in not taking itself too seriously. lt is fun to look at white also inspirlng serenity.
Grâce à des volumes complexes où la droite et le plan ont une fonction essentielle, Fabrice Ainaut parvient à trouver des voies nouvelles qui donnent à l’ombre et à la lumière l’espace nécessaire pour qu’elles puissent se livrer à leurs affrontements dans une dialectique toujours imprévisible.
Amoureux du noir et du blanc, pour ce qui concerne les couleurs, l’artiste porte une extrême attention à l’invention de contrastes qu’il cherche à rendre toujours plus différents, plus instables et fugitifs.
L’idée maîtresse que poursuit Fabrice Ainaut, idée presque utopique, mais à laquelle il a raison de tenir, car l’avenir est ouvert, est d’arriver à insuffler la vie à ses œuvres. Aussi s’oriente-t-il vers une robotique particulière qui le conduit à développer une autonomie de l’interaction entre les mouvements de l’œuvre et la simple présence devant celle-ci de son spectateur, l’artiste restant ici celui qui contrôle les modalités de cette autonomie.
De là viennent les recherches de l’artiste pour rendre plus performant l’usage fréquent qu’il fait de l’ordinateur et des microcontrôleurs, afin de mieux programmer les montages complexes de mouvements qu’il inscrit dans les différentes pièces qui composent ses œuvres.
Fabrice Ainaut a un idéal, et cet idéal est de parvenir à construire des œuvres qui auraient en elles une véritable intelligence, cette intelligence qui leurs donnerait le moyen de s’auto-transformer.
Paris, Janvier 2016