Alice Delsenne
Layer by layer, Alice Delsenne's paintings build a quiet intensity.
Drawing inspiration from classical and romantic art movements, she works with the themes of destruction and the sublime, as the forces that shaped all existence, now and since billions of years.
In her work, chaos and grace co-exist. They are not opposing forces, but two aspects of one condition: being alive in a world that creates and dissolves itself simultaneously.
The sublime is not in the absence of destruction; it emerges within it and become a way of understanding and offering meaning to our humanity. It opens a space where hope can appear as the form of light.
Her practice unfolds as a meditation on presence itself. Using frames within frames, her multidimensional compositions evoke a tension that mirrors the paradox of our human existance and the mysteries we can never grasp.
Painter
Hannibal Renberg
He was born in Paris, then lived in Marseille, and now lives and works in Nice.Initially trained through the discipline of analogue photography — developing his own prints in an improvised darkroom — Renberg has since embraced the immediacy of the smartphone as his sole tool. This deliberate shift from chemical process to digital capture reflects not a rupture, but an evolution in his exploration of perception and presence.
Working within the visual language of a fully digital generation, Renberg transforms everyday street scenes into subtle narratives. His images, first exhibited in Paris and Marseille, reveal a practice grounded in attentiveness: the discovery that even the most spontaneous photograph can carry structure, signification, and intent.
Stripped of anecdotal context and detached from explicit locality, his photographs operate in a suspended temporality. Their meaning is neither imposed nor fixed; it emerges through the viewer’s gaze. Renberg’s work offers not commentary, but reflection — a quiet, lucid mirror held up to contemporary society.
Photographer
Painter
Margot Sokolowska
Graduated with honors from the School of Fine Arts in Łódź (Poland) in 2002, Margot Sokolowska first explored geometric aesthetics before turning to figurative painting. Through this shift, she found the space to fully assert her artistic freedom while drawing upon the technical rigor inherited from her training, itself rooted in the Bauhaus tradition.
She settled in Bordeaux in 2006, where her practice gradually evolved. In her early works, she made herself both subject and alter ego, staging her artistic double within vegetal or urban environments tinged with quiet mystery — echoes of her childhood memories: extraordinary games, the forest so close to the city. For Sokolowska, the body is not merely form; it is language, the vessel of an intimate and identity-driven narrative.
Yet her own figure soon proved insufficient to contain the breadth of stories she sought to anchor on canvas. For Margot Sokolowska is, above all, a storyteller. From then on, her attention turned toward those she encounters in everyday life. These ordinary figures are gently drawn into a subtle pictorial fiction. Clues are scattered across the surface of the canvas, inviting the viewer to reconstruct, in freedom, the fragments of their stories.
Drawing artist
Yann Le Saëc
Yann le Saec was born in 1965. A self-taught draftsman, he lives and works in Paris. And elsewhere.
From his training at the École Boulle, he retained the impossibility of the computer:
nothing and no one would guide this gesture.
His gesture would, in fact, become the key.
The very key that would open the door to childhood,
and, even more so, to the “before-self.”
This imprecise world, filled with promises and torments,
he has been searching for all this time,
only now revealing its treasures to us.
Tirelessly repeating the movement of his hand upon the paper,
he maintains control over the dream
and navigates within this hybrid state of consciousness.
In this state, he sets himself the mission of exploring the abysses of the “before,”
through a kind of frictionless drift
whose sound one can almost imagine — that of the hand itself.
Make no mistake: there is nothing accidental about it.
It is a discipline that must be learned, mastered,
so as never to be overwhelmed by imagination or emotion.
This key, he offers to us in turn,
so that we may explore our own “before-self.”
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