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untitled - pencil, ink and watercolor on paper - 40.5 x 40.5cm - 2015 (courtesy Galerie Quynh)

untitled - pencil, ink and watercolor on paper - 40.5 x 40.5cm - 2015 (courtesy Galerie Quynh)

untitled - pencil, ink and watercolor on paper - 40.5 x 40.5cm - 2015 (courtesy Galerie Quynh)

An Opportunity to wear my Princess Dress - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (courtesy Galerie Quynh)

Entering the Ruins of the Motley Cow - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (Post Vidai collection)

Ergastulum - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (courtesy Galerie Quynh)

Mithra Games Grand Opening - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (courtesy Galerie Quynh)

untitled - pencil, ink and watercolor on paper - 30 x 40.5cm - 2014 (courtesy Galerie Quynh)

untitled - pencil, ink and watercolor on paper - 50.5 x 40.5cm - 2015 (private collection)

untitled - pencil, ink and watercolor on paper - 76 x 56cm - 2015 (private collection)

Monographies

• “Sandrine Llouquet: Milk”, exhibition catalogue, Galerie Quynh, Ho Chi Minh City, Vietnam, 2008

• “Sandrine Llouquet: Le temps est magnifique”, publ. Wonderful, France, 2004

 

Group exhibition catalogues

2021

Natura, Artfem Bienale catalogue, Macau, China

2017

Kenpoku Art 2016, Exhibition Catalogue Japan

The Foliage, exhibition catalogue, VCCA, Hanoi, Vietnam

2010

• "Collective Memories: Together in Electric Dreams", exhibition catalogue, Give Art, Singapore

2009
• “Who Do You Think We Are?”, exhibition catalogue, The Bui Gallery, Hanoi, Vietnam

2008
• “L’image fabriquee », exhibition catalogue, Le Mois de l’image 2008, Ho Chi Minh City, Vietnam
• “Art Multiple”, exhibition catalogue, Ke Center for the Contemporary Arts, Shanghai, China
• “Transpop: Korea Vietnam Remix”, exhibition catalogue, Arko Art Center, Seoul, Korea

2007
• “Face a face”, exhibition catalogue, Le Mois de l’image 2007, Ho Chi Minh City, Vietnam (Mogas Station & Wonderful District)
• “Think with the senses, feel with the mind”, Participating countries & collateral events exhibition catalogue, La Biennale di Venezia 52. Esposizione Internationale d’Arte, Italy (Mogas Station)
• “Migration Addicts », exhibition catalogue, La Biennale di Venezia 52. Esposizione Internationale d’Arte, Eventi collaterali, publ. ddmwarehouse, Shanghai, China (Mogas Station)

2006
• « Belief », exhibition catalogue, Singapore Biennale, Singapore (Mogas Station)


Compilations/essays

2021

"Returning Engagements" by Viet Le, ed. Duke University Press

2016

Vietnam Eye - Contemporary Vietnamese Art, ed. Skira

2015

• "Seseri Metai Saigone" by Vita Vilimate Lefebvre Delattre, ed.Alma Litera 

2014

• "L'art contemporain au Vietnam" by Francois Damon, ed. L'Harmattan

• "Saigon Art Book 1 year", Ho Chi Minh city, Vietnam

• "From Identity to Mondialisation", Theatreworks, Singapore

2013
• "Saigon Art Book", Ho Chi Minh city, Vietnam

2009

• Le, Viet, “Miss(ing) Sai Gon: Contemporary Vietnamese Diasporic Artists – Organisers in Ho Chi Minh City,” Essays on Modern and Contemporary Vietnamese Art, Singapore Art Museum, Singapore

2005
• “Armpit of the Mole”, publ. Fundación 30 km/s, Barcelona, Spain

2004
• « Buy-Sellf », publ. Zebra 3, France

2000
• “Buy-Sellf 2000”, publ. Zebra 3, France

Special

• "A journey on the Violet" (carnet de voyage), Heritage Line, Vietnam, 2011

• "Sunday Morning" (with texts by Frederick Amproux), France, 2005
• "Livre #12" (short novel), Perav Prod, Bordeaux, France, 2003

Selection of Media/Press

2021

Maus Exemplos: Sandrine Llouquet, Radar radio, Nov.2021, Portugal

The Portugal News, Sept. 2021, Portugal

Publico, Sept. 2021, Portugal

2019

2017

Invitation au Voyage, Arte TV, June 7, France/Germany

Sandrine Llouquet - Princesses, grincesses by Jean-Paul Gavard-Perret, Carnet d´art, Sept 2019 (carnetdart.com)

2016

2015

• "Triển lãm “Chương 2: Chính Ngọ” - đi tìm bình minh cho mỗi tâm hồn", Song Moi Online, Septembre11, Vietnam

• "Hanh trinh dam me", L'Officiel Vietnam, Septembre 2015, Vietnam

• "Esoteric and Reimagined Religious Rituals Lay the Ground for "Carne Vale" at Galerie Quynh", Saigonneer, June 26, Vietnam

2014

• "Villes Mondes", France Culture Radio, March 16, France

2013

• My Tran, Llouquet’s alchemy, transformation, discovery and rebirth on show,” The Saigon Times, June 27, 2013, Ho Chi Minh City, Vietnam

• Norman, Kelly, “The uncanny work of Sandrine Llouquet,” Thanh Nien Weekly, July 3, 2013, Ho Chi Minh City, Vietnam

• ‘Noi toi dim con rong cua Sandrine Llouquet,” Tuoi Tre TV, June 2013, Ho Chi Minh City, Vietnam

• Van Bay, “Nghe si Phap goc Viet trien lam dim rong,” The Thao Van Hoa, June 26, 2013, Ho Chi Minh City, Vietnam

• ‘Chapter 1: Where I attempt to drown the dragon,” exhibition listing, ARTiT, June 2013, Tokyo, Japan

2012

• Interview with AWE50ME, http://awe50me.com/2011/08/28/sandrine-llouquet, August 2012, Singapore

2011

• "I would prefer not to", Time Out, Singapore

• My Tran, “Review: Vis-à-vis,” The Saigon Times, December 11, 2011, Ho Chi Minh City, Vietnam

2010

• Smiling Vietnam, HTV, Vietnam

• "A study in contrast: Sandrine Llouquet", East & West November 2010, Vietnam

• Butt, Zoe, “Vietnam,” Art Asia Pacific Almanac 2011, New York, New York, USA

• Nguyen Huu Cong, “Tam Ly Ech Thuy Tinh,” Tuoi Tre Online, July 2010, Ho Chi Minh City, Vietnam

• Ly Doi, “Do ai biet ech thuy tinh nghi gi?,” soi.com.vn, July 2010, Ho Chi Minh City, Vietnam

• Ly Doi, “Soi di xem Ech Thuy Tinh,” soi.com.vn, July 2010, Ho Chi Minh City, Vietnam

• Nguyen Thi Nhu Khanh, “Tam ly ech thuy tinh o gallery Quynh,” Saigon Tiep Thi Online, July 2010, Ho Chi Minh City, Vietnam

• Tran My Loan, “‘Complex of the Glass Frog’ exhibition opens in town,“ Saigon Times Online, July 2010, Ho Chi Minh City, Vietnam

• PV, “Philosophy of the glass frog,” Look at Vietnam, July 2010, Ho Chi Minh City, Vietnam

2009
• “Bui Gallery”, Asialife volume 14, Vietnam
• The Nation, Vietnam
• “Jetlag the beat goes on”, Asialife volume 10, Vietnam (Jetlag)

• Nguyen Duc Hanh, “Half of the Sky,” Timeout Magazine, November 9-15, 2009, Ho Chi Minh City, Vietnam

• Hoang Ha, “Women artists hold up their end in ‘Half the Sky’,” Vietnam News, November 12, 2009, Ho Chi Minh City, Vietnam

2008
• “Jetlag”, Noi That, September 2008, Vietnam (Jetlag)

2007
• “Outside the System”, Art in America, October 2007, US (Wonderful District)
• Standard, no. 16 – summer 2007, France (Mogas Station)
• “Mot cuoi tuan tuyet voi”, Noi That, May 2007, Vietnam (Wonderful District)
• IS Magazine, April 2007, Singapore (Wonderful District)
• “Rendezvous 2”, ARTiT, winter/spring 2007, Japan (Wonderful District)
• “Sight Unseen”, The American Prospect, March 2007, US (Mogas Station)
• “Vietnam”, Art Asia Pacific Almanac 2007, US (Wonderful District) 2006
• “Ben Ngoai “5c’s”, Noi That, November 2006, Vietnam (Mogas Station)
• “In Vietnam, Nguyen Hoang Bao Ngoc interviews French-Vietnamese artist Sandrine Llouquet”, NY Arts, vol. 11 no. 5/6 international edition, US
• “Jouissance”, Noi That, July 2006, Vietnam
• “How far will freedom of expression go? New Art magazine for Saigon”, ARTiT, spring/summer 2006, Japan (Mogas Station)

2005
• “Troi oi”, Noi That, December 2005, Vietnam 2004
• Sud-Ouest, December 2004, France (Wonderful)
• “Sandrine Llouquet/Bertrand Peret”, Art Press, no. 309, France 2003
• “Nomadisme bordelais et soleil sur Nantes”, Revue 303, France
• “Le 5eme mur”, France Culture radio, broadcasting Multipistes, May 7, 2003, France (Wonderful)
• Couleur Bordeaux, France (Wonderful)
• “Le cinquième mur”, Télérama, November 12, 2003, France

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

Galerie Quynh, Hi Chi Minh city (Vietnam), 2013

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

Galerie Quynh, Hi Chi Minh city (Vietnam), 2013

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

Galerie Quynh, Hi Chi Minh city (Vietnam), 2013

Studiolo bianca

mixed media installation

(160x160x160cm)

courtesy Galerie Quynh 

Cynocephalic Circle

Flash animation, sand - 8 seconds loop

courtesy Galerie Quynh 

Untitled

Chair, rope, net, stone, leather belt, metal hook

courtesy Galerie Quynh 

Untitled (detail)

Glass rods, fishing wire, bronze bells

courtesy Galerie Quynh 

Untitled (detail)

Glass rods, fishing wire, bronze bells

courtesy Galerie Quynh 

Untitled (detail)

Glass rods, fishing wire, bronze bells

courtesy Galerie Quynh   

Crusade of the Grand Emporor

Pencil, watercolor on paper (40.5x50.5cm), 2013

private collection

Mout waiting

Pencil, watercolor on paper (40.5x50.5cm), 2013

private collection

The Dream of a Hydrocephalic Bat

Pencil, watercolor on paper (40.5x50.5cm), 2013

courtesy Galerie Quynh

The Holy Spittle

Pencil, watercolor on paper, Chinese ink (26x36cm), 2013

courtesy Galerie Quynh

Untitled

Pencil, watercolor on paper (50x70cm), 2013

courtesy Galerie Quynh

Untitled

Pencil, watercolor, ink on paper (50x70cm), 2013

courtesy Galerie Quynh

Untitled

Pencil, watercolor on paper (26x36cm), 2013

courtesy Galerie Quynh

untitled

Neon tube (27x47cm), 2013

courtesy Galerie Quynh

Thunder Urn

Tektite meteorite, concrete, glass, 2013

courtesy Galerie Quynh

The Ride of the Cynocephalus (detail)

Glass, marker pen, bronze (50 cm of diameter), 2013

private collection

The Ride of the Cynocephalus

Glass, marker pen, bronze (50 cm of diameter), 2013

private collection

The Ride of the Cynocephalus 

Glass, marker pen, bronze (50 cm of diameter), 2013

private collection

untitled

Modeling clay, fishing wire, varnish, glass pot, 2013

courtesy Galerie Quynh

Power Stick

Steel, ribbons, balloon, 2013

courtesy Galerie Quynh

Mahawenhai

Concrete, plastic, paper pistils, sand, graphite and charcoal powder, 2013

courtesy Galerie Quynh

Head of Tatvamasi

Concrete, laquer paint, fabric, synthetic feathers, plastic, ballons, 2013

courtesy Galerie Quynh

Entree Ouverte au Palais Ferme du Roi

Steel, tektite meteorite, 2013

courtesy Galerie Quynh

7 idols

Glass, 2013

courtesy Galerie Quynh

5 brimborions

Glass, bronze, fishing wire, 2013

courtesy Galerie Quynh

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

Galerie Quynh, Ho Chi Minh city (Vietnam), 2013

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

Galerie Quynh, Ho Chi Minh city (Vietnam), 2013

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

Galerie Quynh, Ho Chi Minh city (Vietnam), 2013

untitled

Ink, pen, pencil on paper (26x36cm), 2013

courtesy Galerie Quynh

untitled

Methylene blue, ink on paper (50.5x40.5cm), 2013

private collection

untitled

Methylene blue, ink on paper (50.5x40.5), 2013

courtesy Galerie Quynh

untitled

Ink, pen on paper (26x36cm), 2013

courtesy Galerie Quynh

untitled

Ink on paper (26x36cm), 2013

courtesy Galerie Quynh

untitled

Ink, pencil, pen on paper (26x36cm), 2013

courtesy Galerie Quynh

untitled

Ink, pen on paper (26x36cm), 2013

courtesy Galerie Quynh

untitled

Ink, pencil, pen on paper (26x36cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

untitled

Charcoal on paper (21x29.7cm), 2013

courtesy Galerie Quynh

Ligne de fuite

"Would you tell me, please, which way I ought to go from here?"

"That depends a good deal on where you want to get to," said the Cat.

"I don’t much care where--" said Alice.

"Then it doesn’t matter which way you go," said the Cat.

"--so long as I get SOMEWHERE," Alice added as an explanation.

"Oh, you’re sure to do that," said the Cat, "if you only walk long enough."

- Lewis Carroll, Alice’s Adventures in Wonderland

Empty and Full. Invisible and Visible. Unfinished and Finished. It is a realm of fluid contrasts that Sandrine Llouquet’s work inhabits, one where the realized space on the page is in constant dialogue with the undrawn space, the emptiness of the exhibition space and the mind of the viewer, on which the piece will ultimately make an impression.

Llouquet is mindful in her choice of material, for this series preferring to produce small-scale works on paper. Paper, in its associations with books, blankness, fragility and lightness goes nicely in tandem with the figures she draws, which bloom and fade on the page.  The artist describes her attraction to working in this medium with an anecdote from her early education in art: “I remember clearly the event that caused me to dive seriously into drawing. When I was a child I began to take private drawing lessons with an old sculptor who lived in my city. After a while he told me: ‘Now that you know how to draw, you can start to sculpt.’ I was disappointed by his comment and noticed that he considered drawing just as an under-medium, to be used for sketching, only as a step to create what he considered to be real artwork - a sculpture, the ultimate for him being bronze sculpture. This influenced me to choose drawing and to encourage people to consider it as full-fledged art.” And so it is the unfinished simplicity, the “sketchiness” of drawing that Llouquet finds so relevant to her narrative.

Taking cues from vast, open spheres, like deserts and oceans, Llouquet purposefully leaves much of the page blank when she draws. At the outset, she considers the page as a writer does, and then leaves the emptiness so that it may continue to dialogue with the full. This is the space she leaves for the viewer, to make our own impressions, and to continue the lines and figures that she has left unfinished. The invisible lines carry as much weight for the artist as the drawn ones do, with the artist saying that even the lines that we cannot see must be “fluid, aerial and have perfect curves.” She begins a work, and we may finish it, or not, as we please. Says Llouquet of this phenomenon: “An artwork gets its climax, or reaches its apex, once the viewer makes this operation of capture.” It is for this reason that over the course of the artist’s career, her work has trended toward minimalism. She has reduced much of the content to the particular stimuli that she believes will be most powerful in inciting a reaction in the viewer, and has let much else fall away into the emptiness on the page. She strives to trigger imagination, rather than actively form it. The diminutive scale also makes sense here, because in order for the viewer to see the artwork, we must stand close and establish some intimacy between ourselves and the artwork.  It is through this process that each piece, and in fact Llouquet’s entire body of work, continually becomes itself.

Transformation and becoming constitute the conceptual backbone of Llouquet’s work, yet are also present in the drawn forms on the page. None of the figures or scenes in the series is static. Each person that Llouquet depicts is in the midst of an experience and much information is missing about where he or she has been or where he or she is going. One moment in the middle of a change is what we are given, and we can construct the rest on our own.  Each work presents a multitude of possibilities because above all, these artworks are prompts.

            Yet while the emptiness on the page is where the story may come alive, it is also where it fades away. The imprecise edges of the figures that blur onto the blank page can also be seen as deterritorializing, rather than giving way to something new.  And it is this question that Llouquet’s work constantly raises: The work is certainly changing and becoming, but is it forming or falling apart? Llouquet sees her drawings as microcosmic heterotopias, where multiple stories and outcomes can take shape or disappear.

If Llouquet’s drawings are always in a state of becoming, or unraveling, then the action happens at the line of flight, where the empty meets the full and the invisible meets the visible. The line of flight is the transformation point in this series, and it is where the mystery lies and where the questions are raised.

In Alice’s Adventures in Wonderland, the Cheshire Cat tells Alice that as long as her destination is unknown, she is sure to find her way there. Llouquet is the Cat. She gives us confidence that we will get somewhere, as long as we look hard enough, and walk long enough.

Gillian Lee Sturtevant

Ho Chi Minh City

December 2012

untitled

Pencil, watercolor on paper (23 x 30cm), 2012

Private collection

untitled

Pencil, watercolor, betadin on paper (40 x 50cm), 2012

Private collection

untitled

Pencil, watercolor, betadin on paper (23 x 30cm), 2012

Private collection

untitled

Pencil, watercolor, China ink on paper (23 x 30cm), 2012

Private collection

untitled

Pencil, watercolor on paper (23 x 30cm), 2012

Private collection

untitled

Pencil, watercolor on paper (23 x 30cm), 2012

Private collection

 "Ja"

Pencil, watercolor on paper (23 x 30cm), 2012

Private collection

untitled

Pencil, watercolor, China Ink on paper (23 x 30cm), 2012

Private collection

untitled

Pencil, watercolor, China ink on paper (23 x 30cm), 2012

Private collection

untitled

Pencil, watercolor on paper (23 x 30cm), 2012

Private collection

untitled

Pencil, watercolor on paper (23 x 30cm), 2012

Private collection

The Hairy Princess

Pencil, watercolor on paper (30 x 40cm), 2012

Happy Birthday

Pencil, watercolor on paper (40 x 50cm), 2012

Private collection

untitled

Pencil, watercolor, betadin on paper (40 x 50cm), 2012

Private collection

 Then, we shaped it ; our own dark oasis (detail)

concrete, Chinese Ink, Plexiglas, epoxy resin

(concrete base: 90x200x180 cm), plexiglas sculptures: variable dimesions)
Galerie Quynh, Ho Chi Minh ville (Vietnam), 2010

The Complex of the Glass Frog

(view of the exhibition)
Galerie Quynh, Ho Chi Minh ville (Vietnam), 2010

Then, we shaped it ; our own dark oasis (detail)

concrete, Chinese Ink, Plexiglas, epoxy resin

(concrete base: 90x200x180 cm), plexiglas sculptures: variable dimesions)
Galerie Quynh, Ho Chi Minh ville (Vietnam), 2010

Rain, Shine, etc...(detail)

Metal sheets, cables, neon lights

Galerie Quynh, Ho Chi Minh ville (Vietnam), 2010

Rain, Shine, etc...(detail)

Metal sheets, cables, neon lights

Galerie Quynh, Ho Chi Minh ville (Vietnam), 2010

Rain, Shine, etc...

Metal sheets, cables, neon lights

Galerie Quynh, Ho Chi Minh ville (Vietnam), 2010

Inside? Blank.

Flash animation, polyesther threads

Galerie Quynh, Ho Chi Minh ville (Vietnam), 2010