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Jeanne Vicerial is a sculptor and costume designer whose work explores the representation of the human body through the lens of clothing and textiles. Her approach—rooted in a background in costume and design—is deeply shaped by her experience in fashion and her critical reflection on industrial textile production. Her practice is defined by an exploration of the relationships between anatomy, dramaturgy, and bodily transformation, all expressed through the unique technique she developed: tricotissage (knit-stitching).

Fashion as a Starting Point

“Fashion allows, in some way, for this indiscipline, this ability to navigate freely.”

Jeanne Vicerial’s training in costume and design greatly influenced her understanding of the body. Her early artistic references were rooted in fashion, with figures such as Alaïa, Fortuny, Issey Miyake, and Olivier Saillard. The influence of Madame Grès—a sculptor whose career turned toward fashion—is also notable. However, the collapse of the Rana Plaza in 2013 and the reading of Lidewij Edelkoort’s Anti-Fashion Manifesto, which proclaimed that fashion had become “sick,” pushed her to question industrial production and develop a more conceptual approach to clothing. She went on to create an “immaterial space” called the “Clinique Vestimentaire” (Garment Clinic). This reflection on clothing as a concept, rather than merely a product, became a pivotal moment in her artistic evolution. Although her initial prototypes were tied to fashion, she realized her work was not truly “wearable”—and this realization proved liberating.

Sculpture: A Liberating Artistic Expression

I don’t draw my sculptures in advance — I draw directly in three dimensions with my thread in space.”

Her residency at the Villa Medici marked a major turning point. Surrounded by established artists who did not question the choice of medium, she began using her knit-stitching technique to clothe the park’s sculptures. This experience led to a decisive shift toward sculpture as her main medium in 2019. She now works directly in three dimensions, using thread as a drawing tool. Her sculptures—often inspired by depictions of the female body in art history (such as the “wet-draped Venus”)—are designed as armors, as presences, responding to the violence of certain traditional representations. She creates “garment-organs” (head, torso, lower body), assembling them like molds, blending muscular, organic, and epidermal forms, sometimes incorporating vegetal elements. The process, long and meticulous (ranging from 300 to 2,000 hours per piece), induces a modified state of consciousness—almost a trance.

Art as an Exploration of Metamorphosis

“It’s actually quite violent, of course, to see these representations of the female body throughout art history.”

The exhibition “Nymphose” lies at the heart of her current artistic approach. It explores metamorphosis, bodily transformation, and material change, inspired by the nymph life cycle. The sculptures—often hybrid (insects, flowers, human bodies)—embody transitional states, combining rigid elements (such as metal, introduced for the first time in Nymphose) with the fluidity of thread. The show addresses themes of lineage, gestation, craft heritage, and artistic metamorphosis. The artist draws inspiration from figures like Pierre Soulages, and collaborates with artisans such as Hubert Barrère for embroidery. She examines the interior and exterior of the body, visibility and invisibility, the sexualization of the female body, and the representation of menstrual blood, often hidden or considered “dirty.”

Materials and Thread: A Defining Signature

For Jeanne Vicerial, material is a space of renewal—allowing for constant transformation and exploration. Thread is her principal material, usually monochromatic (black or white), and often used as monofilament to minimize waste. She works with threads of various thicknesses, from the finest to the thickest (up to 5 mm). Recently, she has incorporated metal (copper and brass). Flowers, either fresh or dried, introduce touches of natural color—a palette she prefers over artificial dyes. Light and reflection also play a key role in her work, particularly evident in an exhibition dialoguing with Pierre Soulages’ Outrenoir series.

“Material, for me, is the place where I can renew myself.”

Jeanne Vicerial’s work is a unique fusion of fashion, sculpture, and conceptual art. Her deeply personal and intellectually grounded approach explores the representation of the human body through an innovative knit-stitching technique and a visual language rich in symbols and references. Her practice is a testimony to ongoing research, a pushing of the medium’s boundaries, and a desire to give artistic voice to bodily and societal issues that are often overlooked or misrepresented.

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Renowned British painter Glenn Brown has redefined the boundaries of contemporary art by merging Surrealism, Photorealism, and historical references into a unique visual language. Born in 1966 in a small mining village in northern England, Brown grew up surrounded by literature and music rather than visual arts. His work is celebrated for its meticulous detail, complex appropriations, and evocative distortions that invite viewers to question the meaning of art and originality.

The Early Foundations of Creativity

Brown’s formative years were marked by a love of books and music, fostered by his parents in rural Norfolk. He recalls his unexpected introduction to visual art through pop music:

“My first introduction to Henri Fantin-Latour’s paintings was by an album cover designed by Peter Saville for New Order.”

Programs from the Open University further expanded his education in art and film, giving him a rich cultural foundation before he ever set foot in an art college.

At art school, Brown’s education varied from academic life drawing to modernist theories of color and abstraction. He was influenced by the German and American art movements of the 1980s, including Gerhard Richter and Sigmar Polke, both of whom shaped his approach to the “death of painting.” As Brown explains:

“You build upon tradition, you play with it, and you break it whenever you want to.”

Painting in a Mediated World

Brown’s career has been deeply influenced by the concept of appropriation, drawing inspiration from artists like Sherrie Levine and Salvador Dalí. He reflects on the process of reinterpreting images:

“I loved Sherrie Levine’s photographs… where you become dizzy because you don’t know what to look at.”

This fascination led to his unique practice of creating “paintings of paintings,” using mediated images as his subject. His work bridges the gap between Photorealism and Surrealism, as seen in his pieces based on Dalí and science fiction illustrator Chris Foss. Brown notes:

“The idea of making photorealist paintings of photorealist paintings… seemed so mind-numbingly boring that I couldn’t bear to do it.”

Instead, he introduces distortions and layers that amplify fantasy and escapism.

A Dialogue Between Paintings – In the Altogether

For his exhibition In the Altogether, presented at Galerie Max Hetzler in Paris, Brown created a series of interconnected works over two years. He explains:

“Nothing was finished, but all the paintings were started, and they were all talking to each other.”

The paintings feature vibrant colors, dynamic contrasts, and intricate glazing techniques that add depth and complexity. For instance, Brown uses Indian yellow—a pigment derived from ox urine—to create unique tones:

“You apply this yellow over the top of a blue, and it turns this very peculiar green.”

One standout piece, The Untitled, is based on an Albrecht Dürer drawing. Brown manipulates the figure to blur gender distinctions, explaining:

“In my mind, it’s both Christ and Mary at the same time.”

The work includes a blank rectangle at the bottom, inviting viewers to title the piece themselves, an interactive gesture that encourages personal interpretation.

Humor, Depth, and the Role of Titles

Brown’s use of humor is central to his work, influenced by the deadpan wit of Marcel Duchamp. Titles like Dirty Little Seahorses and When the Satellite Sings are meant to provoke both laughter and deeper reflection. He describes the importance of titles:

“The title of a work is like adding an invisible color to the painting.”

Through this playful yet intellectual approach, Brown invites viewers to engage with his art on multiple levels, finding meaning and amusement in equal measure.

Glenn Brown’s Artistic Vision

With In the Altogether, Glenn Brown continues to push the boundaries of painting by combining meticulous technique with rich cultural references. His work reimagines the history of art while challenging viewers to question their perceptions. Whether through surreal landscapes or appropriated brushstrokes, Brown’s paintings create a dialogue between the past and present, offering a thought-provoking and playful exploration of humanity and creativity.

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Alex Katz: A Master of Contemporary American Art and Printmaking

Alex Katz, born in Brooklyn, New York City in 1927, is a celebrated American artist known for his distinctive style that merges abstraction and realism. His work primarily focuses on portraiture, landscapes, and scenes of everyday life especially with his friends and wife Ada who is also his muse. Katz’s art, characterized by its bold colors, flat surfaces, and simplified forms, has made a significant impact on the world of contemporary art. In addition to his paintings, Katz is also highly regarded for his contributions to printmaking. His exhibition at Thaddaeus Ropac, 60 years of Printmaking, following his retrospective at the Guggenheim Museum in New York, is an occasion to explore this aspect of his work.

Early Life and Education: The Foundation of an Artist

Born to Russian immigrant parents, Katz was surrounded by creativity and perseverance from a young age. His father’s ability to thrive in competitive environments and his mother’s artistic background influenced Katz’s future path.

His introduction to art was informal, he recalls doing watercolors with his father and being influenced by modern art books such as the Bauhaus principles of Piet Mondrian.

Katz’s formal education in art began at the Cooper Union in New York City, where he enrolled after going to a trade school. His background in antique drawing and the pouncing technique (spolvero), which he learned during his teenage years, gave him a strong foundation that allowed him to excel in modern art studies. Katz’s time at Cooper Union enabled him to master the principles of Cubism and other modern art methods. He emerged as a top student, earning a scholarship to the prestigious Skowhegan School of Painting and Sculpture in Maine, where he discovered plein air painting and painted directly from nature. 

The Evolution of Katz’s Artistic Style

While everyone was doing abstract expressionist paintings, Katz turned to a blend of realism and modernism, characterized by flat, simplified forms and vibrant colors. Embracing the flatness and graphic quality, he  developed what would become his signature style. Katz’s portraits, particularly those of his wife, Ada, are some of his most iconic works. These portraits are known for their clarity and simplicity, capturing the essence of the subject with minimal detail.

Katz’s landscapes are equally important in his oeuvre. He often paints scenes from Maine, where he has spent much of his time. His landscapes, like his portraits, are characterized by their bold use of color and flatness, creating a sense of immediacy and directness. Katz’s work bridges the gap between abstract expressionism and pop art, making him a unique figure in the contemporary art world.x

Printmaking: A Crucial Medium for Katz

Printmaking has played a crucial role in Alex Katz artistic career. His interest in prints began in the 1950s, when he experimented with stencils. This exploration laid the groundwork for his later work in printmaking, particularly with silkscreen prints, which became popular in the 1960s.

Katz, emphasizes the importance of collaboration with skilled printers. He worked with several master printers, each contributing to the evolution of his technique and the quality of his prints. Katz admired printers who could take his ideas and elevate them, producing works that often exceeded his original vision.

Katz’s work with Aldo Crommelynck, a renowned printer who also worked with Pablo Picasso, is particularly noteworthy. Katz recalls how Crommelynck’s mastery of techniques like aquatint and his ability to push the boundaries of printmaking had a profound impact on his work. Katz also worked with other legendary printers, including Doris Simmelink and Hiroshi Kawanishi, who brought their own unique skills and sensibilities to Katz’s projects.

Katz’s Impact and Legacy

Katz has spent his life experimenting with different ways of representing reality, from the detailed antique drawings of his youth to the flat, simplified forms of his mature work. Katz’s work continues to be relevant, as he remains active in the art world, producing new work that resonates with both contemporary and traditional audiences. This ongoing exploration has kept his work fresh and innovative, ensuring his contributions to the history of art.

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American artist Kenny Scharf, born in Hollywood in 1958, is recognized for his distinctive works in the realm of Pop Surrealism, often associated with the Lowbrow art movement. Currently, Scharf’s latest exhibition, Tout Suite, is on display at Galerie Almine Rech.

Scharf’s childhood Saturdays, shaped by the psychedelic lights of early color TVs, inspired his fascination with color. Influenced by iconic cartoons like The Flintstones and The Jetsons, he draws inspiration from the dualities of American suburban life portrayed in these animated series.

Initially aspiring to become a commercial artist specializing in album covers, Scharf’s artistic journey took a transformative turn during his studies in art history. The vibrant art scene of New York, echoing the spirit of Warhol’s Factory, convinced him that the heart of artistic expression beat in the city that never sleeps.

Accepted into the School of Visual Art, Scharf’s path intersected with influential figures like Jean-Michel Basquiat and Keith Haring. Introduced to street art by Basquiat, and exposed to the energetic East Village scene by Haring, Scharf’s artistic evolution veered away from formal education toward the dynamic city environment.

In the ’80s, Scharf’s distinctive, accessible style garnered widespread acclaim. Emulating Haring, he embraced diverse mediums, marketing his art on T-shirts and various objects to make it universally accessible. To Scharf, art, like music, should be appreciated on multiple levels, from visual pleasure to a profound understanding of the message embedded in the canvas.

Tout Suite, Scharf’s latest exhibition, takes a poignant turn as it delves into environmental urgency and climate change. Through his signature brightly-colored icons, he not only raises awareness but also invites the audience to engage with the playful joy emanating from his canvases and sculptures. Explore the world of Kenny Scharf, where art becomes a medium for both enjoyment and introspection.