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Cristina Mirabilis
Academy of Fine Arts of Catane
137-139 En Féronstrée
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SpringMerz
Marion Voegelé
31a Rue de la Cathédrale
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Wafel de Liège
Jannes Lambrecht & Mirthe Vermunicht
100 Rue Saint-Gilles
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Signing To A Spitting Image
Rémie Vanderhaegen
6 Rue Gérardrie
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A Fragile Relationship In A Sturdy Façade
Jeannette Slütter
11 Rue de Bex
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Chambre, vue
Pierre-Alain Poirier
14 Rue de la Sirène
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Midnight Leaves
Bettina Marx
28-30 Boulevard d'Avroy
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Gravats
Lucile Marsaux & Théo Philippot
107 En Féronstrée
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Ambient, Aberrant
Sonia Mangiapane
7b Rue des Carmes
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Avis de tempête
Camille Lemille
159 En Féronstrée
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An Enchanted Break
Cristina Lavosi
9 Rue de la Violette
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Du béton du métal dont sont faites vos parois
Anaïs Lapel
1 En Féronstrée
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Cathédrale
Axel Janssen
16 Rue du Palais
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Always Stuff, Four Blue Office Chairs
Gilles Hellemans
32 Rue de la Régence
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Figure
Bruce Formanoie
100 Rue de la Cathédrale
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Étendue 02
Elisa Florimond
85 Rue de la Cathédrale
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L’été sera brûlant
Sarah Feuillas
3 Rue de la Cathédrale
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No, no ! Only as fast as possible without stress
Jan Duerinck
44 Rue Saint-Gilles
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Carpeaux
Patrick Corillon
25 Rue Saint Paul
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Traveling Tales
Tamuna Chabashvili
40 Rue Hors-Château
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Double exposition
Bertrand Cavalier & Fabien Silvestre Suzor
31b Rue de la Cathédrale
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WELCOMCOM
Ondine Bertin
4 Rue de la Cathédrale
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Leakage
Yasmina Assbane
5 Rue Chéravoie
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Onsite Website : The Official Emoji Shop
Éloïse Alliguié
29 Rue de l'Université
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Pédilum
#11
Brieuc Maire
Artist selected as part of the open call
26452 En Féronstrée
My artistic practice mostly gravitates around painting and images. All the images I paint reflect my interest in connecting forms and interpretations. I always try to play with the different facets of a canvas and the hierarchy of the figures inside it without these figures featuring the evidence of human nature and without them being perfectly integrated into the environment which then oscillates between background sets and leading actor. I am usually interested in reflecting what is vague, indistinct, emerging or disappearing and subject to confusion or multiple interpretations.
The diorama thus appears as a device that enables to penetrate even more directly into these stakes since it is a matter of connecting the spectator to an atmosphere, a 3D reconstruction of a mysterious scene that I like to characterize as a “tragic farce”. Thanks to the simplicity of the components, I invite the observer to enter freely into the interpretation and to play with opposing ideas: the sacred nature of the painting is counterbalanced by the playful aspect of the diorama and the presence of this silicone base which is used to showcase the nail art in the window. Between burlesque and melancholy, macabre scene or schoolboy humor, no meaning is fixed, no moral is brought out. This diorama, just like my work in general, presents itself as a crossroads of meaning and stories.