Fabien Granet

Born in 1970 the artist lives and works in France.
The majority of his drawings and paintings are inspired by the wild landscapes of Brittany in France.
” The drawing as a gesture allows me to exploit a (re)mise-en-scene as so many possibilities in the making. Through the quality of drawing as a marker of thought, it is not a question of constructing “dream worlds” but rather of setting up a device that would allow for a conscious dialogue of a certain perception of the real.”

Fabien Granet is pursuing a research on the perception of the landscape, on our ways of trying to represent it, to understand it, to understand its structures.
The drawn “landscapes” are thus as many projections of the artist, which convene and reveal his artistic path, the influences of his culture, his utopias, his dystopian fantasies. Another shift where the quasi scientific concern of objective rigor and the mental construction of an construction of an individual course. The drawing appears in this sense as an act as much as a work which The drawing appears in this sense as an act as much as a work which is registered in a research and a quest to pierce the enigma of the real.

In his landscapes, Fabien Granet evokes a process of the mind, where shreds and fragments become entangled in a re-arrangement of of reality. Snippets of architecture and geometrical figures draw human and his gaze into it. The landscape is a human creation, but how does human try to perceive it, how does he understand its constructions? what is his mental image of it? Chaos and structure intersect in a paradox of our vision of the world: the artist picks out the sensitive elements in a reflection on the possibilities in the making.

Epuisement du motif Fabien Granet

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Fabien Granet

Born in 1970 the artist lives and works in France.
The majority of his drawings and paintings are inspired by the wild landscapes of Brittany in France.
” The drawing as a gesture allows me to exploit a (re)mise-en-scene as so many possibilities in the making. Through the quality of drawing as a marker of thought, it is not a question of constructing “dream worlds” but rather of setting up a device that would allow for a conscious dialogue of a certain perception of the real.”

Fabien Granet is pursuing a research on the perception of the landscape, on our ways of trying to represent it, to understand it, to understand its structures.
The drawn “landscapes” are thus as many projections of the artist, which convene and reveal his artistic path, the influences of his culture, his utopias, his dystopian fantasies. Another shift where the quasi scientific concern of objective rigor and the mental construction of an construction of an individual course. The drawing appears in this sense as an act as much as a work which The drawing appears in this sense as an act as much as a work which is registered in a research and a quest to pierce the enigma of the real.

In his landscapes, Fabien Granet evokes a process of the mind, where shreds and fragments become entangled in a re-arrangement of of reality. Snippets of architecture and geometrical figures draw human and his gaze into it. The landscape is a human creation, but how does human try to perceive it, how does he understand its constructions? what is his mental image of it? Chaos and structure intersect in a paradox of our vision of the world: the artist picks out the sensitive elements in a reflection on the possibilities in the making.

À ras mer Fabien Granet

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Born in 1970, Gabriel Riesnert lives and works in Paris and south of France.

Since his early age Gabriel Riesnert has been fascinated by the beauty of plant forms and urban architectural lines. His passion pushes him to a practice of painting and drawing between photographic inspiration and urban realism. The artist’s consideration of painting is essentially turned to a representation of what we see and perceive of these forms, whether they provide a fiction or an impression of beauty, of serenity.

Beyond the visual, the creation of a work for Gabriel Riesnert is an interpretive experience and a journey intimately linked to space and time. His paintings often represent spaces and forms that are inspired by the tradition of the natural and architectural landscape. By enlarging details and creating a play of colors and shadows, the painter draws up a quest for the possible and a virgin path in the viewer’s eye.

Bleu Nuit Gabriel Riesnert

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Born in 1970, Gabriel Riesnert lives and works in Paris and south of France.

Since his early age Gabriel Riesnert has been fascinated by the beauty of plant forms and urban architectural lines. His passion pushes him to a practice of painting and drawing between photographic inspiration and urban realism. The artist’s consideration of painting is essentially turned to a representation of what we see and perceive of these forms, whether they provide a fiction or an impression of beauty, of serenity.

Beyond the visual, the creation of a work for Gabriel Riesnert is an interpretive experience and a journey intimately linked to space and time. His paintings often represent spaces and forms that are inspired by the tradition of the natural and architectural landscape. By enlarging details and creating a play of colors and shadows, the painter draws up a quest for the possible and a virgin path in the viewer’s eye.

Lieu Commun Colosseo Gabriel Riesnert

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Born in 1970, Gabriel Riesnert lives and works in Paris and south of France.

Since his early age Gabriel Riesnert has been fascinated by the beauty of plant forms and urban architectural lines. His passion pushes him to a practice of painting and drawing between photographic inspiration and urban realism. The artist’s consideration of painting is essentially turned to a representation of what we see and perceive of these forms, whether they provide a fiction or an impression of beauty, of serenity.

Beyond the visual, the creation of a work for Gabriel Riesnert is an interpretive experience and a journey intimately linked to space and time. His paintings often represent spaces and forms that are inspired by the tradition of the natural and architectural landscape. By enlarging details and creating a play of colors and shadows, the painter draws up a quest for the possible and a virgin path in the viewer’s eye.

Pointe de Congrigoux Gabriel Riesnert

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Born in 1970, Gabriel Riesnert lives and works in Paris and south of France.

Since his early age Gabriel Riesnert has been fascinated by the beauty of plant forms and urban architectural lines. His passion pushes him to a practice of painting and drawing between photographic inspiration and urban realism. The artist’s consideration of painting is essentially turned to a representation of what we see and perceive of these forms, whether they provide a fiction or an impression of beauty, of serenity.

Beyond the visual, the creation of a work for Gabriel Riesnert is an interpretive experience and a journey intimately linked to space and time. His paintings often represent spaces and forms that are inspired by the tradition of the natural and architectural landscape. By enlarging details and creating a play of colors and shadows, the painter draws up a quest for the possible and a virgin path in the viewer’s eye.

Loin des villes Gabriel Riesnert

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Born in Lisbon in 1979, Aurélie Sicas has lived and worked in Nantes for 15 years. After a first year at the Ecole des Beaux-Arts de Nantes, the need to discover new horizons led her to the Institut des Arts Visuels de la Martinique. Passionate about silver photography and painting, she obtained her DNAP with the congratulations of the jury. She continued her work as a painter until rediscovering charcoal in 2018. She now devotes herself entirely to this practice.

“The human figure is the starting point for my visual research. Perceived as a complex and paradoxical enigma, I attempt to unravel its mystery through the staging of fictional characters. But who are they? What role(s) do they play? Are they aware of it?
Drawing on personal experience as well as the history of art and cinema, my work questions intimacy, appearance, (in)communicability, empathy, duality, otherness…

Using a variety of artifices (clothing and accessories), I give body to all kinds of characters, with no gender limits. Through this approach, I seek to experience the other, sometimes using stereotypes, whether conscious or not. J.-C. Kaufmann wrote “the subject is never so much himself as when he becomes other”… I seek psychological tension through gestures that reveal subtle inner and unconscious states. In my latest series, the absence of faces brings great freedom of interpretation while invoking the metaphor of the mask.” […]

Après la pose mon coeur bat II Aurélie Sicas

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Born in Lisbon in 1979, Aurélie Sicas has lived and worked in Nantes for 15 years. After a first year at the Ecole des Beaux-Arts de Nantes, the need to discover new horizons led her to the Institut des Arts Visuels de la Martinique. Passionate about silver photography and painting, she obtained her DNAP with the congratulations of the jury. She continued her work as a painter until rediscovering charcoal in 2018. She now devotes herself entirely to this practice.

“The human figure is the starting point for my visual research. Perceived as a complex and paradoxical enigma, I attempt to unravel its mystery through the staging of fictional characters. But who are they? What role(s) do they play? Are they aware of it?
Drawing on personal experience as well as the history of art and cinema, my work questions intimacy, appearance, (in)communicability, empathy, duality, otherness…

Using a variety of artifices (clothing and accessories), I give body to all kinds of characters, with no gender limits. Through this approach, I seek to experience the other, sometimes using stereotypes, whether conscious or not. J.-C. Kaufmann wrote “the subject is never so much himself as when he becomes other”… I seek psychological tension through gestures that reveal subtle inner and unconscious states. In my latest series, the absence of faces brings great freedom of interpretation while invoking the metaphor of the mask.” […]

Après la pose mon coeur bat Aurélie Sicas

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Born in 1970, Gabriel Riesnert lives and works in Paris and south of France.

Since his early age Gabriel Riesnert has been fascinated by the beauty of plant forms and urban architectural lines. His passion pushes him to a practice of painting and drawing between photographic inspiration and urban realism. The artist’s consideration of painting is essentially turned to a representation of what we see and perceive of these forms, whether they provide a fiction or an impression of beauty, of serenity.

Beyond the visual, the creation of a work for Gabriel Riesnert is an interpretive experience and a journey intimately linked to space and time. His paintings often represent spaces and forms that are inspired by the tradition of the natural and architectural landscape. By enlarging details and creating a play of colors and shadows, the painter draws up a quest for the possible and a virgin path in the viewer’s eye.

Lumière de Bretagne Gabriel Riesnert

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Born in Lisbon in 1979, Aurélie Sicas has lived and worked in Nantes for 15 years. After a first year at the Ecole des Beaux-Arts de Nantes, the need to discover new horizons led her to the Institut des Arts Visuels de la Martinique. Passionate about silver photography and painting, she obtained her DNAP with the congratulations of the jury. She continued her work as a painter until rediscovering charcoal in 2018. She now devotes herself entirely to this practice.

“The human figure is the starting point for my visual research. Perceived as a complex and paradoxical enigma, I attempt to unravel its mystery through the staging of fictional characters. But who are they? What role(s) do they play? Are they aware of it?
Drawing on personal experience as well as the history of art and cinema, my work questions intimacy, appearance, (in)communicability, empathy, duality, otherness…

Using a variety of artifices (clothing and accessories), I give body to all kinds of characters, with no gender limits. Through this approach, I seek to experience the other, sometimes using stereotypes, whether conscious or not. J.-C. Kaufmann wrote “the subject is never so much himself as when he becomes other”… I seek psychological tension through gestures that reveal subtle inner and unconscious states. In my latest series, the absence of faces brings great freedom of interpretation while invoking the metaphor of the mask.” […]

Le compotier II Aurélie Sicas

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