Statut: Represented

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2026: Emma du Cayla-Martin Painting Prize, awarded by the Royal Academy of Science, Letters and Fine Arts of Belgium.

Caribaï is a Franco-Venezuelan painter born in Tokyo in 1984. During her early childhood in the Japanese capital, the play of light and shadow through the paper windows(shôji) of the traditional house where she lived nurtured her budding imagination. In 2008, she obtained the Diplôme National Supérieur d’Expression Plastique. She also studied Chinese painting and calligraphy for four years with a Taiwanese master, immersing herself in the traditional aesthetics of the Far Eastern landscape. After studying at the Beaux-Arts, she went on to study engraving in Brussels, where she lived for nine years. She travelled regularly to Florence to learn more about the fresco technique, which she particularly liked.

Enriched by all these influences, Caribaï has developed a highly personal body of work. Although paper, the Far Eastern material par excellence, is the main medium for her artistic work, she has developed her own composite technical approach, combining collage, painting and engraving.
Her work can be found in private collections in Japan, the United States, France, Belgium, Germany, Switzerland and Italy.

In 2021, the Musée des Arts Asiatiques in Nice is devoting a monumental solo exhibition to her entitled “L’empreinte du vent”. To mark the occasion, she created the original work of the same name, comprising 43 panels installed over 33 metres
To mark the occasion, she created the original work of the same name, comprising 43 panels installed over 33 metres, as well as Monde flottant (Floating World), a non-woven and Japanese paper installation over 5 metres high. The museum subsequently acquired a triptych, which is now part of its permanent collection.

The exhibition is complemented by a forty-page book entitled Caribaï – L’empreinte du vent, published by Silvana Editoriale.

 

“My painting opens onto an inner world made of transparencies, lightness, tectonic movements, traces and reliefs, chasms. It gives us the opportunity to see and feel an intimate journey, on the edge, silent.
It is nourished by reminiscences of sensations.
First, there is a moment of encounter with the world, experienced with intensity, which I immerse myself in.
Then oblivion erases the sharp precision of reality. I look for a language made of crumpled papers, ink, reliefs and traces, to give shape to these moments that have been erased and yet have left their mark.
This work of recollection and condensation attempts to restore the energy of these moments. It is not a question of a specific landscape, or of recognising a particular object, but rather, as oriental painters do so well, it is a question of gathering in oneself and letting this primary energy re-emerge in a movement of transformation.
Through the slow elaboration of a composition combining painting, collage and engraving on wood (Dépaysages series), the superimposition of Japanese paper veils that I paint (Ouranos series), or even installations (Ecran – rêve , Monde – flottant ).

April – August 2021

 

On the occasion of his monumental solo exhibition “L’empreinte du vent” at the Musée des Arts Asiatiques de Nice (May-December 2021), the museum has published a book of some forty pages entitled Caribaï – L’empreinte du vent, published by Silvana Editoriale, available at the gallery, and has acquired a triptych which is now part of the permanent collection.

 

Coming from a background of poets and intellectuals, Anna Mark studied painting at the Budapest School of Fine Arts, then worked as a stage designer. She left Hungary in 1956. After staying in Saarbrücken, she moved to Paris in 1959, where she lives and works today. After painting with oil, she became interested in other techniques: engraving, pen drawing, relief of marble powder, pastel, gouache. She creates abstract works, marked by architectural construction. Anna Mark’s gouaches follow a double evolution over the years: in forms  and colors which have evolved from black to earthy colors, and to luminous reds (gouaches first called Rouges de Pompéi). In these latest works, the architectural geometry reveals a fantasy of nuances that fit together, collide, combine, merge. The light vibrations participate in this mysterious alchemy that radiates, illuminates the space up to us.

After graduating from the DEFA d’Architecture in 1996 and the École des Gobelins in Paris in 1998, Jérôme Bryon quickly became a still-life photographer for a number of magazines, and produced his first personal series. Influenced by both architecture and Russian constructivism, Bryon is initially haunted by images with structured lines. From his earliest series, he established a photographic camera work style, concentrating on detail and its abundance, to the point of creating images where the viewer loses himself in a fragmented “all over”.

Already in the 98% series of 2004, the foundations of his work have been laid. Far from conceptual or performative considerations, Jérôme Bryon uses protocols to “take the time to see better”. Over a period of three years, he undertook ten one-week sojourns in the Alps, with the aim of rediscovering the essence of the satisfaction felt when facing the mountains. He composes with what he calls “the density of matter”. With a more constructivist approach, Jérôme Bryon wrests his everyday, anodyne “sculptures” from reality, isolating them to better reveal their structural potential, their abstract reality.

In the series that followed, Posture, Windows, Sous-Œuvre and Grand Sud, the composition of the image asserts itself and the abstract constructions are confirmed. Photographing hotel rooms costing less than €40, house interiors, building sites and shopping malls, Bryon observes and transforms form into subject, turning the banal into the exceptional.

With the Sous-Paysages serie dating from 2024, Jérôme Bryon returns to the immensity of the mountains and once again turns his attention to raw material, playing with lines and scales, making the invisible visible.

Finally, isn’t detail the main subject of Jérôme Bryon’s work? Saturday April 12 4pm – 7pm in the presence of the artists

NEWS

Show : Bernadette et Jean-Damien Chéné dans la vigne, Domaine des Trois Toits, Vertou, France – from 16/05/2026 to 14/08/2026

 

Bernadette Chéné was born in 1947, she lives and works in France.

Drawing on the heritage of Minimalism and Arte Povera, Bernadette Chéné uses simple materials to exploit their formidable plastic qualities. She resolutely keeps ornament at a distance to encourage listening and subtle perception. Bernadette Chéné cultivates simplicity not only in her materials, but also in her forms: she uses primary geometry, circles, triangles, columns and pyramids to reveal the essence of things. She is regularly invited by museums and art centres to create monumental installations based on the same principle. Her work can be found in numerous public and private collections.

“Bernadette Chéné delights in the transformation of sculpture brought about by the avant-gardes of the second half of the twentieth century, deliberately following in their footsteps. From Minimal Art she takes the modular element and the serial principle, from Arte Povera her attention to the dialectic between nature and culture, from the Supports/Surfaces movement her desire to test the mechanisms of sculpture, from Process Art her desire to efface herself in favour of the material”. Gaëlle Rageot-Deshayes, Heritage Curator.

Art3 has recently published the artist’s first comprehensive monograph, which you can buy in our Eshop

Jeff Kowatch, born in California in 1965, moved to Belgium in 2002 after working in New York for about ten years. He developed a colourist painting marked by the great American abstracts, from Mark Rothko to Brice Marden and, for the technique, by the great Flemish painters, Rembrandt in particular, whose recipes for linseed oil he has reclaimed, which give his painting a particular effect of depth and transparency, typical of the northern glazes.

Recently, Kowatch has developed a body of work using the oil stick technique on Dibond (an aluminum panel). These works catch the eye through the use of bold shapes and incredibly luminous colors, layered one over another. Thanks to this technique, the oil is concentrated in a single stick, allowing the use of oil paint in a dry form while preserving the intensity of the pigments.

“Jeff Kowatch testifies to a research as demanding as it is original: that of world music. Sometimes thundering and fierce; sometimes delicate in its polyphonies. A world of light that evokes both the late Monet and his magical water lilies and the mystical Rothko who unravels in his pure fields of colours the diversity of a world dedicated to the spiritual alone. Between the jubilant assumption of the luxuriant pastels and the calm meditation of the large paintings where the forms find their balance, the same breath passes. »

Michel Draguet, Director General of the Musées Royaux des Beaux-Arts de Belgique, excerpt from the text “Plénitude et mascarade colorées”, published in the “Jeff Kowatch Full Circle” 2018 catalog. In May 2024, the prestigious Skira publishing house will publish a major monograph retracing the artist’s career from the outset. And in summer 2024, La Boverie (Liège), highlights Kowatch’s work in its “Abstract” exhibition as one of the major artists of contemporary abstraction.

Born in 1977 in Hungary, Illés Sarkantyu lives and works in France.

The issues of absence and presence, memory and heritage feed Illés Sarkantyu’s work, which is distinguished by its precision, its mastery of light and technique. However, sophistication is not the goal. This precise use of photography no longer makes it a means of reproduction, but a tool for amplified access to the world.

As an investigator, historian, archaeologist, or simple witness, Illés Sarkantyu exhumes images and traces of history that he revisits through his photographs. His images function as clues to reconstitute a narrative or a given moment as if to compensate for the deficit of memories.

lllés Sarkantyu does not like art for art’s sake but for the sake of awakening. Yes, to use a famous expression, “art is what makes life more interesting than art”, because the concern for the world develops.
Pierre Wat