Jin Woo Lee creates his work by superimposing layers of hanji paper, a diaphanous paper on which he draws, paints and places materials (pigments, charcoal, clay, etc.). The artist covers his work several times, by placing a new sheet and starting the process anew each time.

The end result is a painting that bridges 2D and 3D, the surface of which conceals multiple images, colours and moods, which are buried in the papers’ fibres like layers of time, memories or dreams.

Takesada Matsutani noticed the obviousness of black, which, over time, would feature in many of his works, very early. After the dissolution of the GutaÏ group in 1972, Matsutani once again began to favour 3D works. True to his beginnings, the artist strives to identify and convey the essential character of mixing vinyl glue and graphite, which would become his signature materials.

Matsutani gives life to the painting’s material, thanks to the glue, which swells or flows, sometimes intervening, but most often giving rise to random effects. He creates works that are free from their pictorial character, hugely sensual and with a rare sense of tactility.

Aurélie Nemours has been working with abstraction since 1949 and creates paintings that comprise pure colours and geometric shapes that are often derived from the square.

His compositions, which are based on the crossing of horizontal and vertical elements, are characterized by both their rigour and a very high degree of sensitivity, creating a path to deeper spirituality. For Aurélie Nemours, painting is about “seeking the truth of the world”.

In the works of Ode Bertrand, the play on tone-on-tone nuances and the delicate geometric effects create enigmas that make us unsure of how they were constructed. The result of mixing multiple shades of black, each work becomes more than merely its form.

The complexity at the core of the most simple things nourishes the mind here, requiring only a little contemplation in return.

Learn more in this PDF.

Operating like a steady rhythm, Moon-Pil Shim’s monochromatic works display a constant oscillation between transparency, sharpness, solid black, fine, coloured lines, plexiglass and the milky, almost celestial, presence of the white background. “Fluffy like a first fall of snow,” as Tanizaki would say.

Moon-Pil Shim’s works create an imprecise, distant and mysterious depth, attracting our perception towards a withdrawn space.

Learn more in this PDF.

Kim Hyun Sik cultivates the in-between by constantly playing with two different registers, two spaces: the palpable register of resin and the far more distant register that can be divined between the infinite furrows that serve as veins on the surface of his works.

This fine weaving and the alternation between one space and another appears to invite the viewer to a reserved, meditative and mental space. Everything here is a play on contrast, the tension between material and colour, between openness and confinement, between the surface and the intimate, between light and shade.

Learn more in this PDF.

Sunghong Min’s practice is based on the rigorous application of a collection of formal and material operations. These operations – for the Heart series here – are based on drawing, photography and cutting, creating a process of deconstruction that finds its purpose in reconstructing, in the form of photo montages, black hearts glued to the glass.

Through these photo montages, which comprise a series of circles that symbolise the cycle of life and rebirth, Sunghong Min begins a conversation with the viewer and conveys the questions that he encounters as an artist.

Learn more in this PDF.

The use of plastic film as a primary creative process is Maurice Frydman’s metaphorical way of evoking the skin: its folds, wrinkles, tears and wounds.

This approach, which centres on tension and the ability to extend, opens all of the potential variables of the human body, which is depicted here as a “skin of light”.

Learn more in this PDF.

Combining a singular and plural approach that comprises poetry, philosophy, humour and levity, the common thread of Vincent Gagliardi’s work is memory, both individual and collective.

He is obsessed with a material and a technique: linoleum and engraving, which he is constantly striving to master. Like a little game, the artist aims to distract the viewer with unexpected and frequently playful devices.

Javier Leòn Pérez’ abstract and monochromatic landscapes swell with rhizomatic movements. In his 3D works, small pieces of carefully folded Japanese paper intertwine, depicting a dance that transports the viewer into a parallel reality.

Falling somewhat in line with lyrical abstraction, his works recall not only the formal spaces within the room itself, but also the distant spaces of the spirit and emotions, which exist outside of the physical limits of the exhibition space.

Learn more in this PDF.

Influenced by Arte Povera, Paola Pezzi’s works are subtle compositions created with ordinary, modulated, layered and folded materials.

The artist brings a new meaning to each material through the power of decontextualisation, that is, ignoring its primary use. She reveals their other lives and possible forms. The materials receive energy and vitality in her hands, creating a depiction that attracts attention.

Learn more in this PDF.

With his creased papers, Benjamin Ottoz draws on sculpture, painting and photography. Like a sculptor, always works the material – various kinds of paper – forcefully, giving the impression of large drapes.

He creates saturated and iridescent variations and contrasts with spray paint. Like a photographer moves from one developing bath to another, Benjamin Ottoz soaks his paper sculptures to calm the noise and restore the order of things through marouflage to a flat surface.

Benjamin Ottoz’s work explores this “in-between” place, challenging the viewer’s perspective and encouraging them to seek alternative interpretations.