ART PARIS 2025: Stand C19

Philippe Anthonioz (Paris, 1953) practiced ceramics during his secondary studies in Nadia Pasquer’s studio while simultaneously studying photography. From 1972 to 1982 he became a carpenter and sculpted in clay from live models. He begins start assisting Diego Giacometti and from 1983 to 1985 they create alongside the furniture for the Hôtel Salé at the Musée Picasso in Paris. Since then, he has become one of the most prestigious designers, his sculptural lamps created in plaster are one of the most iconic designs of XX century. He has combined this career as a designer with his passion for sculpture. In 2023, the prestigious Château La Coste (Aix-en Provence, France) made a duo show including his recent sculptures with Afi Nayo paintings.

"I would like something like L’Orée du monde for my paintings."

A major figure in abstract painting, Monique Frydman has often explored the notion of time in painting and within the artwork itself. When does a work begin? At the threshold (L’Orée), as something that is emerging, expanding, somewhere between desire and mastery. The passage of time in the act of painting and in the painting itself is a constant theme in Monique Frydman’s work. While this question was already present for the artist in 1988, it remains just as relevant in her practice today.

Ted Larsen (born in 1964, United States) is an internationally exhibited artist, a recipient of the Pollock-Krasner Foundation grant, and a graduate of Northern Arizona University. His work provides commentary on minimalist belief systems and the ultimate significance of Fine Arts practice. Since 2001, Larsen has incorporated alternative and salvaged materials into his creations.

Ted Larsen’s work has been widely exhibited in private foundations and museums across the United States, including the New Mexico Museum of Art in Santa Fe, The Albuquerque Museum, The Amarillo Museum of Art, The Spiva Center for the Arts in Joplin, Missouri, and the Philadelphia Museum of Art, as well as in over 100 gallery exhibitions.

Béatrice Casadesus’s art is deeply influenced by both Italian Renaissance masterpieces and the Far Eastern art she discovered through her travels in Asia. Music also permeates her work.

In search of a painting that "neither unsettles nor disturbs", Béatrice Casadesus has, since the 2000s, deliberately painted against the horrors of the world. The tranquility and visual harmony that emerge from her works can be found in the paintings of great masters such as Turner, Monet, and Rothko. These artists, at the end of their careers, no longer sought to prove or demonstrate but engaged in an exclusive dialogue with painting itself, independent of the external world. Casadesus creates a profound and soothing art, born from a unique technique of imprinting and projecting colors onto the surface, an innovation of her own.

"My great concern with painting is to love painting, not to know how to paint, to invent ways of painting, and quite quickly, to be able to identify with Western painting."

At the age of 23, Jean-Pierre Pincemin began painting and permanently left his job as a turner. His training: passion and the desire to create. It was the gallerist Jean Fournier who encouraged him to produce his first pictorial works. From 1968 to 1973, Jean-Pierre Pincemin experimented with collaged squares: first, the canvas was dipped in a bath of paint, then cut and assembled into irregular geometric shapes, either square or rectangular. In 1971, he joined the Supports/Surfacesmovement, which had emerged in the late 1960s. This movement, initiated by Matisse with his cut-out paper works, was later continued by the new abstraction, hard-edge painting in the USA, and in France by artists such as Simon Hantaï and Claude Viallat. The movement’s concept focused on the physical reality of the painting itself.

By the late 1980s, Jean-Pierre Pincemin decided to “sweep everything away and assimilate it all,” incorporating all styles, supports, techniques, and genres. He then turned toward representation, imagery, and subject matter: he depicted simple, flat Italian primitive trees, large Warhol-like flowers, and an uncertain yet confident figurative style. Later, affected by arthritis, he created polychrome sculptures in his own image—assemblages of painted, stapled wooden pieces.

Living and working in Berlin, Tegene Kunbi is an Ethiopian artist born in 1980 in Addis Ababa, Ethiopia.

He earned a degree in painting and art education from the Addis Ababa University School of Fine Arts in 2004. In 2008, he left Ethiopia to continue his studies at the Universität der Künste Berlin, where he obtained a Master of Fine Arts in 2011. In 2022, he was awarded the Grand Prix Léopold Sédar Senghor at the 14th edition of the Biennale of Contemporary African Art. Since then, he has been based in Berlin, participating in numerous solo and group exhibitions in Germany and internationally.

Since the late 1970s, Jean-François Lacalmontie has pursued a body of work that defies most traditional classifications. Initially, his practice involved compulsively filling countless notebooks with thousands of signs on a daily basis.

Evoking a kind of ideographic language—neither entirely abstract nor fully figurative—these forms, these "things", these "objects," as he calls them, constitute a fundamental visual vocabulary. Resembling a form of writing beyond rational control, this process of distancing allows for an essentialization of the graphic gesture. The obsessive emergence of these forms continuously questions the very conditions of their appearance.

Christian Sorg, born in Paris in 1941, is a French painter who lives and works in France. His artistic training began at the École des Arts Appliqués, where he initially chose sculpture, before continuing his studies at the École Nationale des Beaux-Arts de Paris, where he developed his relationship with painting. Over the years, Sorg has created a distinct pictorial language, inventing his own method of engaging with reality.

Drawing from lived and physically felt experiences, Christian Sorg sketches, paints, and transposes onto canvas the profound presence of humanity’s earliest artistic expressions, the fragility of the world and the environment, and the fleeting brilliance of life. His work resonates as a contemporary voice that reconnects with echoes from the distant past.

Since the very beginning of the 1990s, Philippe Gronon has been developing a photographic body of work whose starting point is the simplest – and historical – definition of photography itself. It is by staying as close as possible to this observation and its demand for realism that the artist has composed over the years several series of images, many of which are still regularly completed today.

For Gronon, this primary definition of photographic technique translates into a well-regulated production protocol: almost all of the photographed objects (safes, stock market boards, writing desks, lithographic stones, amplifiers, electrical panels, backs of paintings, etc.) are photographed at a 1:1 scale, so that the viewer faces the chosen subject in its most direct and striking truth. Using large-format view camera photography, which allows for high-quality and large-format images, the photographed object is often cropped, that is, outlined and presented as is, frontally and without a frame. The image then becomes the exact portrait of the subject, but flattened, without depth.

Lucas Talbotier was born in 1994 in Paris, France. After spending his childhood abroad in China and South Africa, he graduated from the Beaux-Arts de Paris in 2018 and studied at the Rhode Island School of Design (USA) in 2017. He currently lives and works in Paris.

Lucas Talbotier’s painting practice is rooted in a sensitive exploration of the physical nature of light, the arrangement of colors, and the balance of forms that are both simple and expressive. Beneath an apparent abstraction, his work retains the memory of landscapes—fragments of what remains of intangible sensations. His paintings do not depict what is seen but rather the lingering trace of lived experiences.

Graduated in architecture and deeply influenced by industrial design, Chieko Katsumata discovered ceramics in France in 1973 under the guidance of artist Fance Franck, a specialist in Chinese sang-de-boeuf glazes. She attended courses at the École nationale supérieure des Arts Appliqués before returning to Kyoto, where she completed her training at Osaka University of Fine Arts under avant-garde ceramist Mutsuo Yanagihara. She developed a technique of layered colored engobes, allowing her to achieve a unique texture. Her works are imbued with a deep appreciation for natural forms, such as the French Pumpkin at the Cernuschi Museum, which she reinterprets by creating open and imposing volumes. Her pieces are exhibited in numerous national and international museums, including the National Museum of Modern Art in Tokyo and the Museum of Modern Ceramics in Gifu.