M A U D E M A R I S

When Memory is full (a homage to Emily Dickinson) _ 220 x 160 cm _ oil on canvas _ 2018

Who Wants to Look at Somebody’s Face Pi Artworks, London, 2018

Premier Acte_ 160 x 130 cm _ oil on canvas _ 2018Camille Fournet Collection

Red heart _ 220 x 160 cm _ oil on canvas _ 2018

Souvenirs de Téthys _ Solo show at Chapelle Jeanne d’Arc Thouars, France _ 2018

Souvenirs de Téthys _ Solo show at Chapelle Jeanne d’Arc Thouars, France _ 2018

Holes _ 120 x 90 cm _ oil on canvas _ 2017

Virgin_ 120 x 90 cm _ oil on canvas _ 2017

Anatolian studies _ Solo show at EMBAC, Châteauroux, France _ 2017Pardalis _ 220 x 160 cm _ oil on canvas

Anatolian studies _ Solo show at EMBAC, Châteauroux, France _ 2017

Anatolian studies _ Solo show at EMBAC, Châteauroux, France _ 2017Pardalis _ 220 x 160 cm _ oil on canvasBastet _ 30 x 20 cm _ oil on canvas

Objets à réaction _ collective exhibition at Isabelle Gounod Gallery, Paris _ 2017with Colombe Marcasiano

Antique romance _ Solo show at PI Artworks, Istanbul _ 2016

Big Io _ 190 x 130 cm _ oil on canvas _ 2016

Antique romance _ Solo show at PI Artworks, Istanbul _ 2016

Big Jerry_ 190 x 130 cm _ oil on canvas _ 2016

Whistler _ 90 x 70 cm _ oil on canvas _ 2016

Votive _ Solo show at VOG Fontaine _ 2016 Previous page : Drapery _ 56 x 25 x 15 cm _ plaster _ 2016

Monologue _ 120 x 90 cm _ oil on canvas _ 2016

Votive _ Solo show at VOG Fontaine _ 2016

Novice _ 30 x 20 cm _ oil on canvas _ 2016

Next page: Untitled _ 45 x 9 cm _ plaster and ink _ 2016

Roma _ 160 x 130 cm _ oil on canvas _ 2015

Jerry _ 130 x 190 cm _ oil on canvas _ 2015

Foyer _ Solo show at Isabelle Gounod gallery _ 2015

Vestales _ 150 x 250 cm _ oil on canvas _ 2015

Amnesie _ 250 x 185 cm _ oil on canvas _ 2015

Nemeton _ Solo show at Rennes Museum of Fine Arts, curated by 40mcube _ 2015

Shelters_ 185 x 250 cm _ oil on canvas _ 2015

Nemeton _ Solo show at Rennes Museum of Fine Arts, curated by 40mcube _ 2015

Four objects two fossils grey background _ 22 x 16 cm _ oil on canvas _ 2013

In the shade _ 52 x 72 cm _ oil on canvas _ 2013

Sweetnesses _ 130 x 195 cm _ oil on canvas _ 2013Novembre à Vitry Price _ France _ 2013

A l’appui _ 185 x 250 cm _ oil on canvas _ 2013

TEXTS

Who Wants to Look at Somebody’s Face ? Pi Artworks, London, 2018Text by Joël Riff

Maude Maris’ paintings delicately convey sculpture to images. She is acting upon the curiosities that began last year in Paris, of which led her to examine four pioneers of modern sculpture, by observing their use of photogra-phy and as a result, is inspired by the revolution of the modelled contours, which has translated into her painting bringing forth the use of new textures. In order to sharpen her attention even more, today the painter focuses on a British muse.

Barbara Hepworth suddenly appeared in the twentieth century, as maternal and radical. That’s a woman who strives for the anonymity of the genre in terms of its creation. For her, art is neither masculine, nor feminine; it’s either good or bad. Let us celebrate the oeuvre, as well as the figure that she represents for all the generations, regardless of their gender. Her humanity is successfully embodied in this free and optimistic abstraction.

Maude Maris thus, finds in Barbara's work the energy to cross waters, grasping to ground this light which is so gently caressed by the Cornish coastal breeze; the kind of which enveloped this determined icon to work. These natural conditions shape the mineral epidermis of these pieces as much as the chisel does. Objects within this landscape, offered to the sun and to the wind. Every other element wanting to add its mark is invited to do so.

Barbara Hepworth frequently worked outdoors. The garden served as her studio, and the fluctuating weather of Cornwall contributed to the modelling of her statues. Her production is intentionally tactile, provoking the desire to touch. The hand is omnipresent, and it is in some case explicit as the motive, whereas on the other hand evoked by the reserve of curbs. Thus, the voluptuousness implants itself in our hands.

Maude Maris stimulates through her compositions, the prehensile capacities of the eye. New elements appear on the background of the paintings this time, far less calculated but always matter-oriented. Sometimes even fiery and re-calibrated in comparison to their more discreet predecessors. Their superficiality is confined by the fra-mings, which let us guess the existence of the backstage of the shooting, through respecting the luminosity of the outdoors in these miniatures.

Barbara Hepworth never made a model for her sculptures unless she was commissioned. Because even if this one proved to be a success, it was the risk that it would be a failure once enlarged. Here, no hierarchy divides the elements of a production by their size indeed worked with great diversity. On the contrary, every sculpture is relative to the other by their size. A small sculpture appears charming, whereas the large, tragic.

Maude Maris now relaxes her processes and carefully selects picks among the photographic archives of the Lady more freely. Simultaneously, her definition of the space of work is expanding and gently lowering the horizon, and a greater surface is dedicated to the backgrounds, endowing the paintings with a larger physical appearance with larger foreheads. Unedited typology of objects, especially the soft and flat ones, detaches itself in order to better present glaring filiation.

Barbara Hepworth drew from the operating theatre block. It is in hospitals, where the reality of life manifests itself in its most concrete and abstract form. The instruments of a practitioner are fiddling with the flesh at the core of some harmonious cooperation. Fascinating synergy exists between the gesture and the instrument, brought by the restorative function of such labour. To transform rather than create. As legend says, it was an artist, who first probed The ‘hole’ in modernism.

Maude Maris claims allegiance to this chirurgical cleanliness. She slices the world in order to rearrange a new version of it on the canvas. Within these new paintings, with varying sizes she affirms that attraction towards the subject matter. To walk around the objects, to observe them from different perspectives, immortalizing within a sequence of several pauses. If the ideal is born out of balance and unity, through their mobility, the viewer must be capable of grabbing that constant vitality, not simply a profile or a face.

Antique Romance, Pi Artworks, Istanbul, 2016

Pi Artworks Istanbul is proud to host Paris-based artist Maude Maris’ first solo exhibition in Turkey. The artist’s work had been exhibited this year at Ville de Thonon-les-Bains (solo) and VOG Fontaine (solo); and last year at Pi Artworks London, the gallery’s Contemporary Istanbul booth, and Musée des Beaux-Arts de Rennes. Antique Romance consists of a considered and minimal selection of paintings and sculptures that showcase the two main sides of Maris’ practice. These new semi-abstract compositions combine in unusual ways references to objects and architecture from both ancient cultures and contemporary civilizations. Recurrent within the exhibition are references to the transformed remnants of ancient civilisations: The gigantic sculp-tures of Mount Nemrut, Turkey, the belongings of Pharaoh Tutankhamun, and the artefacts of the Istanbul Archaeology Museum.Maris investigates the role -as protector- and spiritual meaning of ancient sculptures depicting animalistic figures, particularly large scale ones placed on and around buildings. Particular attention is given to how the form of these sculptures has changed over time. Her work references both historical sculptures such as those depicting Big Jerry, Big Horus and Big Io, alongside creatures of her own creation.Maris’ works are described as the architecture of emotion. She builds emotions instead of physical construc-tions; she creates passages between the objects and figures, the past and today.To capture the three-dimensionality of her subjects, she often creates sculptures to model her paintings on. In Antique Romance the sculptures are presented together with her paintings to form a broader installation.

Foyer, Galerie Isabelle Gounod, Paris, 2015Text by Nanda Janssen For her second exhibition at Isabelle Gounod Gallery, Maude Maris presents her new project “Foyer”. In this new works , painting, sculpture and architecture are even more closely aligned. Her ideas in this respect are definitely not restricted to the canvas but will extend here in a scenography staged specifically for the gallery space.Maude Maris makes a name for herself with her tranquil paintings halfway between landscape and still life.Small objects found on flea markets or on the street are cast in plaster. By doing so the artist can mani-pulate the object, give room to the unexpected by allowing little ‘accidents’ to happen, and preserve the texture. Children’s figurines, the arm of a doll or statuettes of the Holy Virgin or the head of a dog, anything can offer an interesting shape. Maris is interested in the transformation of the object. Formal analogies are key: if the head of a dog is turned ninety degrees, it suddenly seems a molar; if a figurine is decapitated, it resembles a landscape; a dolls arm corresponds to a branch; Virgin Mary’s pleated dress to a rock. Very recently, the artist also casts natural elements that she gathers from her direct surroundings like small branches or stones. To complete it, she sometimes uses rocks or fossils directly, without casting them. In the paintings all these objects come into play: casted natural and artificial objects and real, natural objects.Each painting is the result of an elaborate process: collecting objects, casting them, create a composi-tion, photograph it and finally paint the photograph. Each step adds a new layer of distance and flattens the objects. This detachment is enhanced by the painting technique. The brushstroke is discreet and the objects are translated into artificial pastel colours. However, the palette is changing: black and greys have recently made their entrance. On the whole, the use of three-dimensional software in her early work has left its mark on her current work. It has caused this artificiality and a smooth and plain aesthetics. Maris applies the stroke, the shadow much used in computer programmes to suggest depth, to pin down the object in the undefined space.At first the objects were depicted in a neutral, white room hinting to both the museum space and the living room, and thus to the sculptural or utilitarian function of the depicted objects. The space has opened up now that these three walls have disappeared. The (faint) horizon is the only suggestion of space. As a result the depiction floats between a landscape and a still life.Clearly sculpture is very present in Maris’ work. Not only in the working method (the casting of objects) but in her subject matter too: the focus on shape. As said before, in her paintings the objects hover to and fro an autonomous, sculptural position and utilitarian use. Since 2010 the painted shapes have stepped out of the canvas and have materialised in real space. The recent solo show ‘Nemeton’ in Musée des Beaux-Arts in Rennes (2015) for example presents an installation( paintings and sculpture). Like her paintings, sculp-tures are made with an economy of means. The works in ‘Nemeton’ and in ‘Foyer’, Maris’ current solo show here at Isabelle Gounod Gallery, explore both the early beginnings of architecture.The source material that inspired this new body of work are drawings from the Middle Ages to the eighteenth century that depict how nature lies at the basis of the Greek temples, for example tree-trunks became pillars by simply cutting off the branches; in the same vein abbot Laugier promoted in his ‘Essay on Architecture’ (1753) to renew architecture by returning to its origins, the publication contained an illustra-tion of a primitive hut; and Mario Merz’s stone slab igloos underline the relation between architecture and sculpture. Maris mixes in her current work her interests in antiquity, prehistory, primitivism and even fantasy. Stones, rocks, branches, fossils and other shapes that are part of Maris’ vocabulary are stacked, piled and arranged in a simple and straightforward manner. The compositions evoke associations with Stonehenge, Greek temples, pyramids, primitive huts and fireplaces. Thus, with all these constructions Maude Maris shares with us the universal and primitive gesture of stacking.

Introducing ART PRESS, january 2014Text by Julie CrennTranslation, C. Penwarden

Combining painting, volume and drawing, Maude Maris constructs a visual and mental universe of carefully articulated forms, objects and colors.

When she left art school in Caen in 2003, Maude Maris painted artificial landscapes, gutted houses, caves and aquariums, gradually articulating a meditation on the ruin and an idealized representation of nature. Her landscapes seemed frozen in time, bathed in soft light and unreal colors. The latter came from synthetic materials used to make environments and from objects conveying a reassuring vision of nature as some-thing mastered. She is also interested in architecture and space, which is why she spent a year in the Hubert Kiecol's atelier at the Kunstakademie in Düsseldorf. « Whith him I was looking to find the rigor and high standards I needed for my own explorations. »(1) There she worked in collaboration with architects and produced mainly three-dimensional objects. She was also inspired by some of the German art she saw : the photographs of Frank Breuer and Thomas Demand, sculptures by Imi Knoebel, paintings by Thomas Huber and architectural projects by Gottfried Böhm. Maris's intensive visual experimentation gave her work a new dimension. Between 2009 and 2010, she collected Internet images and reprocessed them using software. « I wanted to get a grasp of all the different parameters related to the question of viewpoint ».She sets out her objects in a virtual space bathed in artificial light, composing her still lifes on the screen before transferring them onto the canvas. The software enables her to modulate the intensity of the light and create zones of shadow which divide up the space in another way. But while this gives her increased control of the light effects, she loses the relation to material and color. Consequently, it is necessary to appropriate. « I couldn't see the point anymore of working with objects and images that didn't belong to me. » So she then started looking for objects related to the idea of a controlled nature : toys, everyday junk, decorative elements. After cutting, polishing and casting in plaster, the trace of the object is painted in synthetic colors such as blue-green, silver gray, pale pink, beige or gold-brown. The new objects are then laid out in a three-sided box open at the front. These compositions are photographed and then painted on canvas. The final work is thus a result of a long process punctuated by filters leading to a smoothed image. By getting rid of thickness and texture, the artist aims to preserve an almost surgical effect of distance in relation to the object.

THE WORLD ON STAGE

Initially Maris worked with a single object, developping a meditation on isolation, the solitude of an object placed in an empty, neutral space. Gradually other objects came to colonize this same space. They contri-bute to the theatrical character of her work because they perform the function of both props and characters. As her casts accumulate, so the artist builds up a collection of objects, which she classifies in families defi-ned by form, color and power of evocation. She sees them as « characters that share the same stage. »The colored casts are set up in a room whose appearance may be natural or domestic. These silent, enigmatic actors call on our memories, our imaginary and our history. Maris thus extends the art of memory put in place, among others, by the Italian primitives, one of her main sources of inspiration. Their paintings feature open space which convey different time frames and, consequently, generate several different narratives wit-hin a given work. Maris's still lifes are frozen in time and space. It is for the beholder to move around within them mentally so as to penetrate their secrets, which are at once alluring, appetizing, and fascinating but also disconcerting and unusual.Based as it is on constant sampling, the imprint constitutes a driving element in Maris's work. Casting found objects is a first kind of imprint. Her three-dimensional pieces are also imprints of painted works. Indeed, the sculptures represents the hidden side of the paintings. The artist uses the floor-plan of her objects, taking their outline and cutting out their silhouettes in sheets of colored polystyrene. The sculptures can thus be read as ghosts. They partake of the creation of environments in which photographs, paintings, sculptures and drawings come together. If we are able to enter the paintings, and find our way round the objects, we will come up against the things that exist behind the scenes, off-camera, out of the frame. « Volumes are the exterior and the paintings are the interior of the space. » Maris encourages us to enter her soft, unsettling world. She recently started knocking down the walls of the boxes she works with, letting in natural light. Each action, however slight, has a host of consequences. Reflections, colors, brightness and shadow, are no longer the same. The theatrical dimension is gradually fading to let in the real-complex, impossible to control and unexpected.

(1) All quotations are from a conversation with the artist in July 2013

Propositions concerning the paintings of Maude Maris , Eric SuchèreDreaming of vertigo, raising the doubtSolo exhibition, Artothèque de Caen, FranceJune-september 2012

Let us say once again, after a few others, that Maude Maris makes objects, that she moulds them, and then places the shapes she has cast into small boxes, models that are open on one side, that she then, under given lighting conditions, takes photographs of her compositions, and that it is finally from these photographs that she paints her paintings.First PropositionMaude Maris’s paintings thus undergo a process or, rather, the implementing of a setup which may recall Giorgio Morandi’s—with Morandi the setup consists in real objects covered in whitish paint and arranged on a small stand being year after year submitted to minor displacements—or Nicolas Poussin’s—Poussin staged figurines before starting on his compositions—, a setup which, as with Morandi, is not shown, but which is nevertheless underlying the painting, being its basis and not its end. We can suppose that, contrary to Morandi who chec-ked after nature—even though it was a theatricalized nature—, Maude Maris conceives of her setup as a way of putting things at a distance : she is not painting an object, but the photograph of a positive she has obtained through casting. Her painting is thus the result of a series of filters whose aim is to abstract the object. The object is denaturalized not only through the casting process but also through photography, which flattens its reality, and then again through painting, as the colour given to the object in the painting has nothing to do with that of the initial object. And the same goes for materials, which take on a hardness or softness, a brightness or dullness that bear no relation either to the original document. A pictorial arbitrary is being projected—as if through the use of mapping in 3D computer graphics software—onto a basis of interpreted reality.Second PropositionWhat is at stake, then, is not only measuring what space there is between things or how one object is made to vibrate near another—which was what Morandi’s painting was essentially concerned with—, but also building a space that will seem plausible with these arbitrary objects in it. The box in which these artefacts are placed is a neutral place where tangible relationships between nevertheless abstract objects are established—abstract in the sense that they bear no resemblance to anything but themselves, and that they are only remotely connected with reality. How does one go from one mass to another, from a diagonal to a curve, from a piling-up to a scat-tering, from a hollow shape to a solid one, from a shadow to light, from a reflection to its absorption… ? Maude Maris makes abstract objects visible to us, but the pictorial means she uses to show them to us are figurative. With her, painting is a way of making us believe in abstractions. She resorts to an anomal illusion—just as Yves Tanguy did in his paintings, although I do not think she claims him as an influence.Third PropositionSo the means Maude Maris uses tend towards likeliness thanks to imitation through light, relief, shadow, pers-pective… Maude Maris’s painting may evoke a language that is quite classic, yet it seems to be much closer to digital imagery—to those images commonly referred to as computer-generated images which today dominate representation, and will even more in the years to come, from our computer screens to the big cinema screen. But the type of computer-generated image that is being called to mind here is more archaic than that used by James Cameron in his movie “Avatar”. Maude Maris’s paintings seem to be made like digital images (3D mode-ling and mapping), but they show that they are artificial, they do not attempt to deceive us, they insist on their being artefacts, on our being faced with simulacra. The illusion is minimal. The point is to build a paradoxical abstraction.Fourth PropositionAbstracting, abstractions… We can suppose that such a setup is used to build an analogical space that it will be possible to connect to the real, but without it being nameable or assignable, or to represent a mental space—via the series of means deployed in the setup we go from a reality abstracted from the real to a reality seen in a mind’s eye. Or, put differently : we can see virtual objects in a plausible space and light without being able to say what it is we are seeing. Likewise, we do not know the scale of the objects and it is not necessarily inferable from the dimensions of the painting. All we can say is that they are contained within a room—except for small size works which show objects that are simply placed on a floor whose depth is indicated by shaded tones. We are facing representations of a world that is familiar—the language that is used aims to make it seem so—which are yet entirely devoted to representing virtual realities that do not say much—except through those analogies already mentioned, which even so remain uncertain, as all analogies will—, representations which do not desi-gnate anything, which remain secret.Fifth PropositionMaude Maris’s painting is all the more secretive as the means implemented for its realization are remarkably dis-crete : no impastos, no gestural marks, no dripping… only what is necessary to a visible yet homogeneous brus-hwork, to a neat and meticulous execution that shuns virtuosity. Maude Maris’s painting is smooth on the surface and discretely expressive in its effects. The only effect that is emphasized is that of the objects’ reflections on the floor, an obvious evocation of a cliché of our times, the graphic interfaces of computers and Apple MP3 players—and as such, they are just as inexpressive stereotypes. Maude Maris’s painting is detached, egoless—and it is mostly in this respect that it reminds me of Ed Ruscha’s painting. It is devoid of any symbolical content, any expressivity, any reference to any kind of real… It is the representation of a scenography which is waiting for no actor, no human body and text, to come into being. It is staging its own power to be in almost complete silence.

Maude MARIS, born in 1980 in France

Lives and works in Paris

maudemaris@gmail.comwww.maudemaris.com

Pi Artworks, London / Istanbul

EDUCATION

2010 Post-Diplôme Kunstakademie Düsseldorf, prof. Hubert Kiecol, integration art and architecture, Germany2003 DIPLOME NATIONAL SUPERIEUR D’EXPRESSION PLASTIQUE (awarded for the art process) Ecole des beaux-arts de Caen.

SOLO EXHIBITIONS

2018 Who Wants To Look at Somebody’s face, Pi Artworks, London Souvenirs de Téthys, Centre d’Art Chapelle Jeanne d’Arc, Thouars Recast, Espace à Vendre, Nice2017 Anatolian studies, Galerie de l’EMBAC, Châteauroux Les grands profils, Isabelle Gounod Gallery, Paris2016 Antique romance, PI Artworks, Istanbul A claire-voie, Galerie de l’Etrave, Thonon-les-bains Votive, Saint-Ange residency, VOG, Fontaine 2015 Nemeton, Musée des Beaux-arts, curated by 40 m3, Rennes Foyer Isabelle Gounod Gallery, Paris2014 Along the cornices, in Christian Aubert’s appartment, Paris2013 Lapidarium, Isabelle Gounod Gallery, Paris Table of contents, Galerie Duchamp, Yvetot Elevation, L’art dans les chapelles, Pontivy Novembre à Vitry Prize winners exhibition, Galerie municipale de Vitry-sur-Seine2012 Dreaming of vertigo, raising the doubt, Artothèque, Conseil régional and Hypertopie, Caen Entre cour et jardin, Maison des Arts, Malakoff Nowhere there is a landscape, Galerie du Haut-Pavé, Paris2011 Half, balanced, ateliers Höherweg, Düsseldorf, Germany2010 Inner views, CAUE Gallery, Limoges Two horizons, Chapelle des Calvairiennes, Mayenne2009 Archetypes, Carré Noir / Le Safran, Amiens2008 Viewpoints Château de la Louvière, Montluçon

GROUP EXHIBITIONS

2018 Art Basel Hong-Kong, PI Artworks, Hong-Kong Azur et Bermudes, curated by Joël Riff at ART-O-RAMA, Marseille Double jeu, FRAC Auvergne’s collection, Musée d’Art et d’Archéologie d’Aurillac Sleep disorders, bar Babette, Berlin2017 Art Basel Hong-Kong, PI Artworks, Hong-Kong O! Watt up, de Watteau et du Théâtre, MABA, Nogent-sur-Marne Peindre, dit-elle [Chap.2], Musée des Beaux-arts, Dole Objets à réaction, Galerie Isabelle Gounod, Paris Drawing now, Galerie Isabelle Gounod, Carré du Temple, Paris Monts et merveilles, Le Bel Ordinaire, Pau2016 5th edition of Prix Jean-François Prat, Palais de Tokyo, Paris French touch, Artspace Boan, Seoul, Korea Intrigantes incertitudes, MAMC, Saint-Etienne De leur temps 5, ADIAF collection, IAC Villeurbanne Drawing now, Isabelle Gounod gallery, Carré du Temple, Paris 3 collectionneurs autrement #3, Eté 78, Bruxelles A quoi tient la beauté des étreintes, FRAC Auvergne, Clermont-Ferrand YIA Art Fair #06, Isabelle Gounod gallery, le Louise 186, Bruxelles Histoires de formes, Les tanneries, Amilly2015 Salon Zürcher, Isabelle Gounod Gallery, New-York CI, Contemporary Istanbul, Pi Artworks, Istanbul Postscript : Correspondent Works, cur. Ashlee Conery, artQ13, Rome Raffineries, with Samara Scott et Octave Rimbert-Rivière, Moly Sabata Heaven is a place where nothing ever happens, cur. Ashlee Conery, PI Artworks, London Ligne aveugle, cur. H. Pernet and H. Schüwer-Boss ISBA, Besançon

Prix Jean-François Prat, with Raphaëlle Ricol and Philippe Decrauzat, ParisPeindre dit-elle, Musée d’art contemporain, RochechouartRecto/verso , Amac for the Secours Populaire, Louis Vuitton Fondation, Paris

L’Heure du loup : sommeil profond, curator Sleep Disorders, La Box, Bourges 2014 FIAC (OFF)ICIELLE, les docs, Isabelle Gounod Gallery, Paris Art is hope, Piasa, Paris Art Protect, Yvon Lambert Gallery Les esthétiques d’un monde désenchanté, CAC de Meymac Outresol 2, curators Mathieu Buard & Joël Riff, by Johan Fleury de Witte, Paris Open minds, cité internationale des arts, Paris Drawing now, salon du dessin contemporain, Isabelle Gounod gallery, Paris2013 Salon light, (Cneai), Nuit blanche 2013, documentation céline duval’s booth, Paris Drawing now, Isabelle Gounod Gallery, Carrousel of Louvre museum, Paris Art Protects, Yvon Lambert Gallery, Paris Drawing room 013 / booth of La Vigie, Salon du dessin contemporain, Montpellier An inhabited dream, Maison des Arts de Grand-Quevilly(76)2012 Salon de Montrouge Drawing now, I. Gounod Gallery, Carrousel of Louvre museum, Paris2011 Espèces de scènes, curator Philippe Piguet, ateliers Plessix-Madeuc, CREC, Dinan(22) Dépeindre, Kurt forever/Chamalot, 6B, Paris Nuit blanche, Chapelle des Calvairiennes, Mayenne (57) Diep, le modernisme, Frac Haute-Normandie, Dieppe (76)2010 Die Beschreibung der Welt, die Wg in Malkasten, Düsseldorf, Germany Rundgang, Kunstakademie Düsseldorf, , Germany2008 Les Transitives, 2 Angles in Flers (61)2006 3ème biennale d’art contemporain de Bourges2005 L’Art et la ville, Orangerie du Sénat in Paris

GRANTS, RESIDENCIES, AWARDS

2018 Equinoxes, Residency Program by Camille Fournet, Paris2016 Cité internationale des arts, Paris2015 Short-listed artist, Jean-François Prat Prize, with Caroline Bourgeois as chairwoman, France Saint-Ange Residency, Seyssins, arch. Odile Decq2014 Cité internationale des arts, Paris Nomination for the Prix Canson2013 Grant for creation, DRAC Basse-Normandie. Nomination for the Prix Antoine Marin, Arcueil2012 Prix de Novembre à Vitry Laureate2011 Residency in Ateliers Höherweg, Düsseldorf2010 Chamalot-Résidence d’artistes. (19) Grant DAAD, Kunstakademie Düsseldorf, prof. Hubert Kiecol, art and architecture2008 Residency Shakers in Montluçon.(03)2006 Grant for creation, DRAC Basse-Normandie.

COLLECTIONS

Bredin Prat non-profit Fund for Contemporary ArtMusee des beaux-arts, RennesFRAC Auvergne FRAC Basse-Normandie FRAC Haute-NormandieArtothèque de CaenColas FondationBel FundEmerige Fund