« Mobilis in mobile » — mobile within the mobile element. And thus go Charlotte Bovy, Amélie Chassary, Thomas Dhellemmes, Maxime Fardeau, François Kenesi and Alice Quaresma.
Like the Nautilus — Jules Verne’s submarine —, their images of passage transport towards a dreamed elsewhere. A discreet charm operates: the melody of memory — cheerful and haunting. A tender calm, too. With hushed steps, they move towards the horizon where the trace they hasten to keep will soon be lost. Cadaqués, Hiroshima, Burgundy, Loiret, Portugal, Japan… In the end, it doesn’t matter where you are. What matters, however, is the physical and cerebral exile during which each one extends the field of what is known. Some with color, all effect-less, the photographs cross a series of intermediary landscapes, occupying the in-between that separates poetry from document, truth from falsehood, near from far, just as the wave comes and goes. Their motifs are diverse — a cooling tower, autumn leaves, a lonely swimmer, century-old pines, the harbor of Rio, a flowery staircase. And their natural stories praise what’s scanty. These fragments, embedded in the flow of reality, shape a familiar atlas on the wall, and in thought. Everywhere, the technique is candid: cut, copied, pasted, painted, printed paper — sensitive to the variations of climate — takes playful forms, where we can see gesture. It too goes adrift, adding a layer of experience to the surface. Casually, these travel journals seem to enchant and move.
Founded in 2015 by Amélie du Chalard, Amelie, Maison d'art challenges the traditional codes of the art market, combining a digital linchpin and material spaces dedicated to the contemporary artists it represents and supports. Developing its own universe and ecosystem by presenting different mediums — painting, works on paper, photography, ceramics, etc. —, the gallery brings out a new generation of artists through a different experience of art.