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Capitulo 5 - em breve, solo exhibition at Base, Lisbon

Publié le par sandrine llouquet

 

"Mapa de Apolline", "Mapa de Thrung-Thrung", "Mapa de Jean Brau", "Mapa de Pedro Ishikawa", "Mapa do irmaozinho que tanto querias", "Mapa de Zaj de Sushan", pencil on paper, 29.5 x 42 cm, 2023

"Mapa de Apolline", "Mapa de Thrung-Thrung", "Mapa de Jean Brau", "Mapa de Pedro Ishikawa", "Mapa do irmaozinho que tanto querias", "Mapa de Zaj de Sushan", pencil on paper, 29.5 x 42 cm, 2023

Capitulo 5 - em breve, solo exhibition at Base, Lisbon
Capitulo 5 - em breve, solo exhibition at Base, Lisbon
Capitulo 5 - em breve, solo exhibition at Base, Lisbon
Capitulo 5 - em breve, solo exhibition at Base, Lisbon
Capitulo 5 - em breve, solo exhibition at Base, Lisbon
Capitulo 5 - em breve, solo exhibition at Base, Lisbon

OR...or...

What came first? The work or the artist? The gallery or the work? The artist or the gallery?

 

Sandrine Llouquet would probably answer OR. This or that, two paths that have their own paths and lead us to different perspectives on the drifts of art and artistic poesis. The path that is carved out to reach the work is made up of pieces. These are what make up the narrative and the body of her works. Mixed, transformed, rethought, and manipulated, they take on a shape and history. They are pieces with a life of their own that sometimes fall asleep and can suddenly wake up and be utilized in a moment of rationality by the artist. As the contemporary philosopher Gilbert Simondon said, being is not exhausted in the individual; it overflows. For Sandrine, the artist is just another part of the work, full of incompleteness that the viewer - the potential energy - will fill in.

The very title of the exhibition refers to an "unfinished work." Capitulo 5 - em breve (Chapter 5 – upcoming) points to previous chapters written by the artist and to others that will emerge: "is finishing not finished." Sandrine's artistic corpus should be analyzed as if it were a book. We know that it began with the first chapter, but we do not know, including the artist, when it will end, that is, if this artistic corpus book will have a conclusion or even final considerations. We can see that the exhibition is full of thought, and that thought needs something to produce its lines, rhizomes, and new paths. In Sandrine's case, these lines-rhizomes-paths come from the poetic encounter with mystery.

Furthermore, this is only desirable as a way of escaping to something unexplained and not as a conclusion/unraveling or discovery of something. Mystery here functions as an awakener that confronts the multiplicities of the self and distances itself from the simple retentions of mere memory reproduction. For the artist, mystery immerses her in materials relating to a wide range of objects, colors, and sounds, and in her living unconscious: the tables with the various pieces on display are a living unconscious. An unconscious that is not what is not conscious but what goes beyond consciousness: infinite multiplicity full of dimensions. They are the active being in the work's becoming, where everything that exists is related to what 19th-century French philosopher Maine de Biran called the primitive fact of intimate meaning: the "ego" or center of indeterminacy for Bergson.

Let us be open to this primitive, intimate sense that Sandrine presents us in this exhibition. We will possibly be able to see in it an authentic cabinet of curiosities where a doll with a tail, bought in Bali, OR a skull of a saber-toothed tiger brought from Tokyo, are parts of a larger narrative that the artist wants to permanently rethink in a relationship with the one who observes them: the viewer.

 

Pedro Arrifano

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Days and Nights of Revolving Joy

Publié le par sandrine llouquet

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Chapter 4: Days and Nights of Revolving Joy

Publié le par sandrine llouquet

... Until April 6, 2019 at Galerie Quynh (www.galeriequynh.com)

Chapter 4: Days and Nights of Revolving Joy

View of the exhibition (ground floor)

Chapter 4: Days and Nights of Revolving Joy

view of the exhibition (3d room)

Chapter 4: Days and Nights of Revolving Joy

 

(...) Borrowing a line from The Four Zoas, an unfinished book of mythic poems by
William Blake, the title reflects a continuous and elaborate journey of learning and discovery for the artist. The first part of the ongoing project was presented at the gallery in 2013 as Chapter 1: Where I attempt to drown the dragon. Chapitre 2: Midi was realized at L’Espace, Hanoi, Vietnam in 2015; and Chapitre 3: les 101 Grandes Déesses was shown at Le Point Commun, Annecy, France in 2017.
Chapter 4 unveils newly produced works incorporating ceramics, installation, and video that delve into ideas of identity and division, recurrent themes in Llouquet’s practice.

 

Llouquet’s practice is often invested in the reading and research of modern thinkers like Foucault, Nietzsche, Deleuze and Jung. In Carl Jung, Llouquet is particularly interested in his theory of archetypes. Jung’s explanation of archetypes looks at the unconscious stories and structures that are passed down through generations despite an individual’s particular circumstances of nature, nurture, and geography.


In The Four Zoas Blake intended to give his own vision of the psychic history of Man. His cosmic poetry offers an intriguing echo to Jung’s definition of the archetype despite Blake having died almost 50 years before Jung’s birth. Blake’s poetry is an outline of the unconscious forces struggling against one another in the human psyche.

 

This sense of fragmented, existential profundity is interwoven with Llouquet’s broken ceramics. Inspired by a recent trip to Lisbon where she encountered the painted, tin-glazed tile works known as azulejos, Llouquet travelled to Hue, the imperial capital of Vietnam, to learn more about pottery mosaic, a traditional technique using broken pottery that flourished in Hue in the 17th century.

 

For her new mosaics, Llouquet takes porcelain pieces, some found and others hand-painted, and shatters them into pieces before reconfiguring the shards into geometric forms. She accumulates images from disparate sources and recomposes them into new patterns and narratives. What is divided and fragmented can now be re-seen as a whole.


Chapter 4: Days and Nights of Revolving Joy unfolds as a progression from the ground floor and mezzanine which offer a mosaic of intriguing images of broken ceramics and fantastical, painted ceramic tiles towards more mysterious charcoal drawings on canvas on the second floor. The second floor back room features Days and Nights of Revolving Joy, a new video work of an esoteric ceremony. Viewers must enter a stark room with only bamboo mats on the floor to view the video, which is accessible only after scanning the QR code on their smartphones. Faithful to Llouquet’s idea of syncretism, the video is a celebration of various sources from the cult of Isis to Catholic mass to profane celebrations. The mysterious ceremony involves various rituals including dancing, a reading in Esperanto of Night the First (the first chapter of The Four Zoas), and an initiation rite. Rather than attempting to understand the content with our rational mind, the artist proposes to experience it and grasp it on another level of consciousness.

Chapter 4: Days and Nights of Revolving Joy

The Chymical Air, 25.3 x 35.5 cm, pencil and watercolor on paper, 2018 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Bald prangt, den Morgen zu verkünden, 120.5 x 120.5 cm, ceramic paint on ceramic tiles, found ceramic, metal (frame), silicon and plaster, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Bald prangt, den Morgen zu verkünden, 120.5 x 120.5 cm, ceramic paint on ceramic tiles, found ceramic, metal (frame), silicon and plaster, 2019 (detail) - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Nokta Defilado, 20x180cm (20 x 20cm each), ceramic paint on ceramic tiles, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Nokta Defilado, 20x180cm (20 x 20cm each), ceramic paint on ceramic tiles, 2019 (detail) - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

N3d, 20 x 20 cm, ceramic paint on ceramic tiles, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

N6th, 20 x 20 cm, ceramic paint on ceramic tiles, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

N9th, 20 x 20 cm, ceramic paint on ceramic tiles, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

The Song of the Aged Mother, 61.5 x 61.5 cm, ceramic paint on ceramic tiles, metal (frame), silicon and plaster, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

quod est inferius est sicut quod est superius, 61.5 x 61.5 cm, ceramic paint on ceramic tiles, metal (frame), silicon and plaster, 2019 - private collection

Chapter 4: Days and Nights of Revolving Joy

quod est superius est sicut quod est inferius, 61.5 x 61.5 cm, ceramic paint on ceramic tiles, metal (frame), silicon and plaster, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Le livre des tables, 35x35cm, pencil on calligraphy paper, 2018 -- courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Still Life 1, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Still Life 2, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Still Life 3, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Still Life 4, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Still Life 5, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Still Life 6, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Still Life 7, 70x70cm, Charcoal on canvas, 2019 - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Days and Nights of Revolving Joy, single channel video with sound. 35 min 13 sec, 2019 (still image from the video) - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Days and Nights of Revolving Joy, single channel video with sound. 35 min 13 sec, 2019 (still image from the video) - courtesy Galerie Quynh

Chapter 4: Days and Nights of Revolving Joy

Days and Nights of Revolving Joy, single channel video with sound. 35 min 13 sec, 2019 (still image from the video) - courtesy Galerie Quynh

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Chapitre 3: Les 101 Grandes Déesses

Publié le par sandrine llouquet

"Chapitre 3: Les 101 Grandes Déesses", by Sandrine Llouquet

Le Point Commun, Espace d'Art Contemporain, Annecy, France

(photos: Antony Leclerc)

---

Ancient spiritual practices, esoteric rituals, re-imagined mythological imageries and religious behaviours have been at the centre of Sandrine Llouquet’s artmaking.
For many years, the French artist has been fascinated by the powerful influences that religions and beliefs have played in many aspects of the human existence, and has been searching for common connections between them to try to understand their unshakable importance in the human psyche.
Influenced by psychological and philosophical texts, such as the works of Jung and Nietzsche, Llouquet has been building an array of realms inhabited by magical, often esoteric, creatures.
In her latest solo exhibition, Chapitre 3: Les 101 Grandes Deesses, on display at Le Point Commun, Annecy, from the 15th September, Llouquet turns her gaze towards what she regards being the source of all spiritual beliefs: the Goddess.
As the title suggests, the shows is a continuation of her previous projects (Chapter 1: Where I attempt to Drown the Dragon and Chapter 2: Midi), but, most importantly, it reflects the artist’s desire of having her art considered as a whole: an organic body that evolves and expands. In fact, included among the new exhibits for Chapter 3, there are pieces selected from her recent projects, such as a mix media bust from the Cabinet of Doctor Komo and the drawing Mithra Games Grand Opening from the show Carne Vale.
Llouquet’s interest in religion lies on the evolution of its rituals, iconography and manifestations rather than on a theological perspective. With this body of work, Llouquet investigates the reasons behind the marginalisation of the female figure in contemporary religious practices.  
The female archetype has been visible throughout prehistoric and ancient history (the famous Venus Figurines, for instance, are regarded as one of the oldest art on Earth), signifying the important role that female virtues had in various spiritual systems.
(…) From Palaeolithic art to Indo-Iranian religions, from contemporary tribes’ rituals to mythology, Chapitre 3: Les 101 Grandes Deesses displays a collection of images of goddesses, in the form of drawings, installations and sculptures.
However, the viewer should not expect a reproduction or a re-interpretation of such iconic figures, but rather an invitation from the artist to explore our own collective memory in interpreting the various female archetypes on display.
When talking with Llouquet about her artistic process, the words ‘alchemy’ and ‘syncretism’ are bound to come up early on in the conversation. Stemming from a personal curiosity in mythology and legends, the French artist collects images, pictures and texts, which then, like in alchemy, are transmute into esoteric worlds, where eeriness and ethereal magic live side by side.
Since moving to Ho Chi Minh City, Vietnam, 12 years ago, Caodaism (a southern Vietnamese monotheistic religion that incorporates teachings from Buddhism, Taoism, Confucianism and Christianity) has been another inspiration for Llouquet, who sees it as an example of Vietnamese cultural and its ability to freely absorb a variety of sources and merge them together without restrictions.
This same principle is applied in her work, where she creates her own universe of religious gestures, imageries, rituals and movements, and, through it, the viewers can ascertain her personal creative recollection and make it their own.

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The Cabinet of Dr Komo

Publié le par sandrine llouquet

The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo
The Cabinet of Dr Komo

“The Cabinet of Dr Komo”, by Sandrine Llouquet
KENPOKU ART 2016
(Photos Keizo Kioku)

 

For KENPOKU ART 2016, French artist Sandrine Llouquet conceived of an imaginary study of a Dutch doctor, a friend of the owner of Hozumike House. She researched the Kenpoku region, and inquired into various cultural aspects of the Edo period, including yokai (monstruous ghosts), misemono-goya ("freak shows") and rangaku (Dutch learning). Based on this setting and research, Llouquet created a room that showcased objects collected by this Dutch doctor. This work was based on the "cabinet of curiosities", a popular practice among aristocrats and scholars in the West between the 15th and the 18th centuries. Llouquet is interested in how objects from real life are transformed by such ritualistic contexts, and has been studying common archetypal images that can be found in oral traditions and mythology around the world. This installation was a summation of this curiosity that has led the artist on journeys across time and space.

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Chapitre 2: "Midi" (drawings)

Publié le par sandrine llouquet

Chapitre 2: "Midi" (drawings)

untitled - pencil, watercolor, ink on paper - 40.5x30cm - 2015 (private collection )

Chapitre 2: "Midi" (drawings)

untitled - pencil, watercolor, ink on paper - 40.5x30cm - 2015 (courtesy Galerie Quynh)

Chapitre 2: "Midi" (drawings)

The Wounded Healer 1 - pencil, watercolor, ink on paper - 40.5x30cm - 2015 (courtesy Galerie Quynh)

Chapitre 2: "Midi" (drawings)

The Wounded Healer 2 - pencil, watercolor, ink on paper - 40.5x30cm - 2015 (courtesy Galerie Quynh)

Chapitre 2: "Midi" (drawings)

untitled - pencil, watercolor, ink on paper - 76x56 cm - 2015 (courtesy Galerie Quynh)

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Chapitre 2: "Midi"

Publié le par sandrine llouquet

Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"

views of the exhibition

Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"
Chapitre 2: "Midi"

details of the installations

Chapitre 2: "Midi"

untitled, mix media, variable size (2015) - detail

Chapitre 2: "Midi"

untitled, mix media, variable size (2015) - detail

Chapitre 2: "Midi"

untitled, mix media, variable size (2015)

Chapitre 2: "Midi"

"Ronde de Midi", wood, inox, paint, sand, water, video animation, plexiglas sculpture (2015)

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Chapter 1: ... - press release

Publié le par sandrine llouquet

Chapter 1: ... - press release

~~Ho Chi Minh City, Vietnam – Galerie Quynh is pleased to present Chapter 1: Where I attempt to drown the dragon – Sandrine Llouquet’s fourth solo exhibition at the gallery. Alchemy, transformation, discovery and rebirth are recurrent themes in the show represented through highly symbolic images and metaphors. Spanning the gallery’s main exhibition space and its new downtown gallery, the ambitious exhibition is divided into two parts: nigredo (blackness) and albedo (whiteness) in reference to the first two of the four major stages of the Magnum Opus in alchemy. With a nod to Victorian novels, the whimsical exhibition title suggests the beginning of an elaborate journey full of fantasy and drama for our protagonist. References to Jung, archetypes and the collective unconscious abound in the show. The dragon itself refers to personal obstacles and symbolizes the shadow, an archetype that represents the darker side of the human psyche. Llouquet states, “Each of my artworks is a step left behind that shows a building of oneself: wandering, passage from one stage to another, rebellion, escape, rebirth… By pursuing my research on this idea of building oneself, I naturally came to study the history of alchemy and found deep similarities with my conception of art: a quest for wisdom that goes with material experimentations.” Strangely familiar yet indefinable, many of the works in the exhibition have curious titles like Holy Spittle, Head of Tatvamasi, Thunder urn, The Ride of the Cynocephalus, The Dream of a Hydrocephalic Bat, calling to mind invented rituals, children’s games, meditation and science experiments. That pharmaceuticals such as methylene blue and iodine have been used as a medium in some of the drawings reinforces ideas of experimentation and healing. Llouquet will be presenting a major installation on the ground floor of the gallery’s main space as a kind of passage before the next step. Entitled Studiolo Bianca, the work is a steel cage-like room that contains many of the artist’s personal possessions. Referring to the studiolo in the Italian Renaissance – a room for research and meditation – Llouquet’s studiolo is locked and cannot be accessed by viewers. Research materials, books, drawings, photographs and objects Llouquet has collected over the past decade are positioned strategically in the room to reveal/conceal the raw materials that inspire and aid in her quest to drown the dragon.

Q.Pham

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Chapter 1: Where I attempt to drown the dragon (albedo)

Publié le par sandrine llouquet

sm DT install view4 copy-copie-1 

 

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

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

 

sm DT install view3 copy-copie-1

 

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

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

 

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Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

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

 

sm albedo1-copie-1     

 

Studiolo bianca

mixed media installation

(160x160x160cm)

courtesy Galerie Quynh 

 

sm Cynocephalic Circle copy

 

Cynocephalic Circle

Flash animation, sand - 8 seconds loop

courtesy Galerie Quynh 

 

sm_untitled_chair_rope_rock_detail-copy.JPG

 

Untitled

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

courtesy Galerie Quynh 

 

sm untitled ladder detail copy     

 

Untitled (detail)

Glass rods, fishing wire, bronze bells

courtesy Galerie Quynh 

 

sm untitled ladder detail2 copy     

 

Untitled (detail)

Glass rods, fishing wire, bronze bells

courtesy Galerie Quynh 

 

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Untitled (detail)

Glass rods, fishing wire, bronze bells

courtesy Galerie Quynh   

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Chapter 1: Where I attempt to drown the dragon (drawings)

Publié le par sandrine llouquet

 

sm_CrusadeoftheGrandEmperor_pencilwatercolor_50_5x40_5.jpg

 

Crusade of the Grand Emporor

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

private collection

 

sm_Mout_Waiting-copy.jpg

 

Mout waiting

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

private collection

 

sm_TheDreamofaHydrocephalicBat_pencilinkwatercolor_50_5x40_.jpg     

 

The Dream of a Hydrocephalic Bat

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

courtesy Galerie Quynh

 

sm_TheHolySpittle_pencilwatercolorchineseink_26x36cm_2013.jpg

 

The Holy Spittle

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

courtesy Galerie Quynh

 

sm_untitled-hybridwolf-_pencilwatercolor_50x70cm.jpg

 

Untitled

Pencil, watercolor on paper (50x70cm), 2013

courtesy Galerie Quynh

 

sm_untitled-wolfriver-_pencilinkwatercolor_70x50cm.jpg

 

Untitled

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

courtesy Galerie Quynh

 

sm_Untitled_1_pencilinkwatercolor_26x36_2013.jpg

 

Untitled

Pencil, watercolor on paper (26x36cm), 2013

courtesy Galerie Quynh

 

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Chapter 1: Where I attempt to drown the dragon (nigredo)

Publié le par sandrine llouquet

sm_untitled_neon_bat-copy.jpg 

 

untitled

Neon tube (27x47cm), 2013

courtesy Galerie Quynh

 

sm_thunder_urn-copy.JPG 

 

Thunder Urn

Tektite meteorite, concrete, glass, 2013

courtesy Galerie Quynh

 

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The Ride of the Cynocephalus (detail)

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

private collection

 

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The Ride of the Cynocephalus

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

private collection

 

sm_ride.JPG 

 

The Ride of the Cynocephalus 

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

private collection

 

sm_untitled-copy.JPG 

 

untitled

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

courtesy Galerie Quynh

 

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Power Stick

Steel, ribbons, balloon, 2013

courtesy Galerie Quynh

 

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Mahawenhai

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

courtesy Galerie Quynh

 

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Head of Tatvamasi

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

courtesy Galerie Quynh

 

sm_entree_ouverte_au_palais_ferme_du_roi-copy.JPG 

 

Entree Ouverte au Palais Ferme du Roi

Steel, tektite meteorite, 2013

courtesy Galerie Quynh

 

sm_7_idols-copy.JPG 

 

7 idols

Glass, 2013

courtesy Galerie Quynh

 

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5 brimborions

Glass, bronze, fishing wire, 2013

courtesy Galerie Quynh

 

sm a copy 

 

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

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

 

sm_c-copy.JPG 

 

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

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

 

sm_d-copy.JPG

 

Chapter 1: Where I attempt to drown the dragon

(view of the exhibition)

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

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Chapter 1: Where I attempt to drown the dragon (blue series)

Publié le par sandrine llouquet

sm_untitled4_methylene-blue--ink--pencil--blue-pen_36x26cm_.jpg

 

untitled

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

courtesy Galerie Quynh

 

sm_untitled-kingrats-_inkpencil_50_5x40_5cm.jpg

 

untitled

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

private collection

 

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untitled

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

courtesy Galerie Quynh

 

sm_untitled_ink_pen_26x36_2013-copy.JPG

 

untitled

Ink, pen on paper (26x36cm), 2013

courtesy Galerie Quynh

 

sm_untitled2_bis_-ink--pencil--blue-pen_36x26cm_2013.jpg

 

untitled

Ink on paper (26x36cm), 2013

courtesy Galerie Quynh

 

sm_untitled3_-ink--pencil--blue-pen_36x26cm_2013.jpg

 

untitled

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

courtesy Galerie Quynh

 

sm_untitled5_methylene-blue--ink--pencil--blue-pen_36x26cm_.jpg

 

untitled

Ink, pen on paper (26x36cm), 2013

courtesy Galerie Quynh

 

sm_untitled7_methylene-blue--ink--pencil--blue-pen_36x26cm_.jpg

 

untitled

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

courtesy Galerie Quynh

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