Any capital city, by its size, its effervescence, its activities, tends to capture most of the attention and the light, leaving its satellites in the wake of its shadow. In the French art world, fairs, galleries, institutions, the public and artists seem to follow the same trend. Heiress and still beneficiary of its very rich artistic history, Paris has long kept its aura as a stronghold of the art scene on a national scale. Nothing is set in stone, and even less so in the art world.
Further south – facing the sun – a cultural place whose dynamism is directly correlated to its financial accessibility, its mild weather and the interest of its activities. Jean Cocteau wrote: “The French Riviera is the greenhouse where the roots grow. Paris is the store where flowers are sold”
Through a selection of four artists whose works are radically different but who share a common inspiration, La peau de l’ours offers a synthetic vision of this south feeling. The atmosphere, freshness and tones of these works evoke the Fauvist freedom of a Matisse or the pictorial research of a Cézanne, while immersing the viewer in a definitely contemporary techniques and points of view.
The Persian blue glaze of Emmanuelle Roule’s ceramics echoes the colors of the Mediterranean while Delphine Dénéréaz’s tapestries made of recycled textiles recall the colors and animation of coastal cities. Nicolas Nicolini’s pictorial constructions suggest natural materials dried in the sun while Mariano Angelotti’s filtered paintings dive us into a warm summer evening. The liveliness of the tones or the numerous reflections of these works evoke the abundance of light of the Azure landscapes, source of inspiration as well as of cultural development.