Paris Print Fair 2024

Valérie Belmokhtar

Hyacinthe, 2023
Drypoint on Rhenalon, on Rosaspina Fabriano paper 220 gr edition of 20, paper 24×30 cm. Numbered and signed by the artist in pencil

Chloé Bocquet

Nocturne 1, 2022, woodcut and linocut, 1095 x 695 mm, Edition of 5. Numbered and signed by the artist in pencil.

Caroline Bouyer

Palimpsest series, 2023, Drypoint, Carborundum in two passages – unique piece 20x30cm. Signed by the artist in pencil

Anaïs Charras

Répliques (Replicas), 2024, Burin on copper, background glued chines, partially glued chines, 3 plates per print on one sheet: 6 x 40/12 x 40/20 x 40 cm Edition of 15. Numbered and signed by the artist in pencil

Atsuko Ishii

The secrets of an island, 2023, etching printed in color, 24×32 cm, 31 copies, numbered and signed by the artist in pencil.

– Valérie Belmokhtar and the continuation of her new Mythology series, inspired mainly by Ovid’s Metamorphoses.
Her recent work, after a long period of experimentation, is now refocused on myths and the relationship between the living and the body through them, mainly through printmaking and drawing on paper. Constantly switching from one to the other. “Watercolor and printmaking are mediums that strike me as particularly well-suited to evoking impermanence, transformation, the dream dimension and the poetry permeating these myths and metamorphoses. The black-and-white drypoint etchings, on the other hand, evoke the metamorphosis in progress, but also the tragic dimension of the myths, echoing the return of tragedy in our time. Valérie Belmokhtar
Author of the book published on October 20: “Au cœur du vivant, les liens entre les artistes et la nature” (Pyramid Editions)

– Chloé Bocquet and a new series of woodcuts Nocturnes et paysage (work in progress).
“The starting point for the Nocturne series was to work on night landscapes, images that inspire darkness, indecision and the imprecision of what we see or don’t see when night falls. Each Nocturne is produced by superimposition and printed by hand on very fine paper (30 grams), which gives a particular texture to the image. For Nocturne 1, I initially chose to print on a blank wood plate, to have the materiality of wood printed on paper. Then I added the more figurative blue parts (linocuts). In terms of composition, I wanted this image to be separated into two parts. Above, a more figurative imagery in which landscape elements can be identified. Underneath, an abstract material, composed solely of a dark texture reminiscent of earth, humus.” Chloé Bocquet

– Caroline Bouyer and a new, unpublished, ongoing series called “Palimpeste”. A palimpsest is a manuscript whose handwriting has been removed in order to write another text. The term “palimpsest” is also used to describe an object that is constructed by successive destruction and reconstruction, while retaining the history of its former traces. Scraping metal inscribes open or closed hollows, scars, into its material, whose printed traces constitute the proofs, which, when assembled, build an evolving narrative; the states, marking the stages of the creative process. This series of images is a mise en abîme, a plunge into the heart of a printmaking practice that elaborates a story, a journey through time, the space of the plate and the singularity of etching.

– Anaïs Charras and her drypoint and burin etchings on the theme of inheritance, transmission and disappearance. At the show, the artist will be presenting a previously unpublished series entitled Tangage I, II and III, as well as an etching consisting of three plates entitled “Répliques”. Since the artist began working with the burin – a tool of slowness – she has paradoxically relied on the effects of movement to create speed and erasure.
“As a self-taught draughtswoman, the discovery of engraving was a founding and liberating event for me. I trained in this demanding technique alongside Florence Hinneburg at the Ateliers de la Ville de Paris. The great precision and rigorous process of this practice opened up a new field of expression with multiple possibilities: transition, passage and disappearance are the common threads weaving the universe of my work. Each new work takes its place in a chronological chain, like episodes in a grand narrative. My characters must complete a series of trials, go through many states and experience a thousand sensations before they are allowed to pass to the other side.” Anaïs Charras

– Atsuko Ishii through her Personal reality show. Working together since 2004, the gallery is proud of this collaboration, rich in constant discoveries. From the outset, Ishii’s singular style, even though it is rooted in her Japanese culture, has created a diary of her daydreams, fantasies and views of the world. Her quirky humor, clear lines, patina-like colors, attention to detail and recognizable characters create a highly personal universe that reflects a mirror-like vision of our present to those who view her etchings. His compositions have evolved, becoming even more detailed and rich, developing even crazier dreamscapes. A joyful telescoping of false naivety. L’ratiste exhibits regularly in France, Europe and Japan. In 2024, she exhibited in Taiwan.