This is a nighttime tale told by six contemporary artists and designers. Within the raw volumes of the exhibition space, reality fades, giving way to a fertile imagination. It is a gray zone inhabited by creatures lurking in the uncertainty of forms and lines. The selection of works subtly reveals the theme of metamorphosis, driven by the awakening of instincts and wildness, much like the myth of the werewolf. Some of these creators use the photographic image as a residual anchor to reality. This is seen in the works of Alexandre Kasproviez, in his monumental or intimate canvases where representation slips away from view. The artist blurs the pictorial surface, creating an invisible wall, a filter distancing the observer. Photography, along with its cinematic alter ego, is also transformed by Pooya Abbasian, in search of poetic accidents. For Ugo Woatzi, self-portraiture is a means to explore gender ambiguity. Printed on textile or ceramic, the image becomes either ephemeral or concrete like a fragment of desire. Beyond images, the exhibition takes form through sculptural works—a nocturnal fauna and flora with mutating shapes. Among them, the functional works of William Guillon blend gothic with organic elements, expressing the vanity of the world. “Everything is chaos,” the artist remarks, referring to a surrealistically balanced piece of furniture. Nearby, a textile and bronze chair asserts its ghostly presence. Marius Perraud’s poisonous plants have blossomed in the shadows. These vegetal relics, from a sanitized future, have adapted to the urban forest by infiltrating concrete surfaces. Created by the duo Bella Hunt & Dante di Calce, other creatures merge with medieval references, forming new beings and displaying the patina of a distant era. Like a shadow theater, these strange specimens come alive, composing a landscape of nocturnal illusions.
Samuel Landée
This is a nighttime tale told by six contemporary artists and designers. Within the raw volumes of the exhibition space, reality fades, giving way to a fertile imagination. It is a gray zone inhabited by creatures lurking in the uncertainty of forms and lines. The selection of works subtly reveals the theme of metamorphosis, driven by the awakening of instincts and wildness, much like the myth of the werewolf. Some of these creators use the photographic image as a residual anchor to reality. This is seen in the works of Alexandre Kasproviez, in his monumental or intimate canvases where representation slips away from view. The artist blurs the pictorial surface, creating an invisible wall, a filter distancing the observer. Photography, along with its cinematic alter ego, is also transformed by Pooya Abbasian, in search of poetic accidents. For Ugo Woatzi, self-portraiture is a means to explore gender ambiguity. Printed on textile or ceramic, the image becomes either ephemeral or concrete like a fragment of desire. Beyond images, the exhibition takes form through sculptural works—a nocturnal fauna and flora with mutating shapes. Among them, the functional works of William Guillon blend gothic with organic elements, expressing the vanity of the world. “Everything is chaos,” the artist remarks, referring to a surrealistically balanced piece of furniture. Nearby, a textile and bronze chair asserts its ghostly presence. Marius Perraud’s poisonous plants have blossomed in the shadows. These vegetal relics, from a sanitized future, have adapted to the urban forest by infiltrating concrete surfaces. Created by the duo Bella Hunt & Dante di Calce, other creatures merge with medieval references, forming new beings and displaying the patina of a distant era. Like a shadow theater, these strange specimens come alive, composing a landscape of nocturnal illusions.
Samuel Landée
