MARIE ANGE DAUDÉ


MARIE ANGE DAUDÉ I DE MEDICIS GALLERY I GALERIE DE MEDICIS

Between chaos and rebirth, her works are a reflection of our environment, and perhaps even a reflection of us as well.
Born in 1964, this visual artist represents through her heckled portraits, broken and glued back together, fragile, reconstituted from nothing, the passing of time and make us deal with emotions that bring two beings

together.
Through the series « the timeless »made with feathers, staples, and pins, Marie Ange tries to revive old photos by applying contemporar y technology and by magnifying what is at first a simple material.
With the feather portraits held by thin threads, the artist explores the fragility and the melancholy of the moment. The feelings and the characters that emerge are thus like the feathers that makes them up: suspended, frozen in a fall or a whirlwind, both eternal and motionless. Femininity is exacerbated by the lightness and the fragility of the medium.

PREFAB77

Prefab77 used to be a collective working out of Newcastle, and now one artist, Peter Manning represents the title. Number 77 in Prefab77 refers to the year of 1977, which was a very successful year for British celebrities in the arts field. They made a great impact on the British street art scene. Their work included giant paste ups that are almost as big as a three-storey building. Their works are an interesting blend of rock, punk with an ethnic African headgear, and other imagery with women in the center. Manning creates artwork that often has political and sometimes anti-establishment tone, but these images are beautiful and reveal a lot from the modern culture. His work is a dark world of money, fashion, music, and politics woven into a luxurious mixture of acrylic, spray paint, wheat paste, and varnish.

Manning started his career as a printmaker and designer for the Queen in the British Army. He worked as a designer for well-known fashion brands. His work was commissioned by brands like Converse, Gap, Hurley, NIKE, Keds, and Ride Snowboards. In 2011, he created the cover art for Dancing Backward in High Heels, which was the fifth and final studio album by American rock band New York Dolls from the 1970s.

PREFAB 77 | BELIEVE IN ANGELS  Mixed media - luxurious mix of hand paint, print and stencil - acrylic, gold ink, five layer stencil, spraypaint and gold paint on Acrylic Primed Cotton Duck artist quality canvas.  70 x 100 cm | 27 3/5 in x 39 2/5       

PREFAB 77 | BELIEVE IN ANGELS

Mixed media - luxurious mix of hand paint, print and stencil - acrylic, gold ink, five layer stencil, spraypaint and gold paint on Acrylic Primed Cotton Duck artist quality canvas.

70 x 100 cm | 27 3/5 in x 39 2/5 

 

 

BRUNO CATALANO I DE MEDICIS GALLERY

Sculture per un mondo in transito: I Voyageurs di Bruno Catalano

Li seguo da anni, dalle sponde di Marsiglia, fino all’aeroporto di Singapore, passando per le strade innevate di Courchevel. Sono i Voyageurs, i gruppi scultorei di Bruno Catalano, creature eteree , affascinanti nel misterioso rapporto tra vuoto e pieno, capaci di instaurare un dialogo con il mondo circostante, fino ad identificarsi con esso.

Sono migranti o nomadi, muniti di una valigia alla mano e di una speranza nel cuore alla ricerca di una vita migliore. Uomini per così dire “perforati” e forse ridotti a pezzi, come li ha resi metaforicamente l’ambiente circostante.
Con uno sguardo introspettivo procedono con passo incerto verso una realtà sconosciuta.

KURAR

Kurar, tombe dans le graffiti dès la fin des années 90. Pendant 10 ans il va peindre, travaillant sur la 3D, le volume, et la couleur.. Au fil du temps et des expériences il va diversifier ses techniques, Graff, Vandale, Pochoir, Collage, pour ce concentrer sur le travail des pochoirs.

Au travers du pochoir et de son travail sur toiles, ce street artist traite des sujets actuels et nous pousse à prendre du recul sur notre vision de la société. Mélangeant univers ancien, et détails contemporain dans ces œuvres Kurar traite avec poésie, humour et provocation, des sujets sensibles comme la guerre, la religion, et la société de consommation.

L’utilisation et la représentation de l’enfance, est un des points récurent et une certaine « marque de fabrique » de Kurar. Il utilise brillamment ce symbole de l’innocence pour contraster avec l’aspect satirique et provocatrice de ces représentations.

Depuis une ascension en 2013, marqué par une exposition personnelle à la galerie Parisienne Onega, le street artist enchaine les expositions personnel et expose dans les galeries du monde entier, New york, Los Angeles, Genève, Dusseldorf, La Reunion, Bruxelles, Berlin, etc..

Entre cynisme et péosie, nostalgie et humour noir, il touche le public par la profondeur et la pertinence de ses messages.

Socilal Distortion I Acrylique on canvas I 130 x 89 cm 

Socilal Distortion I Acrylique on canvas I 130 x 89 cm