Oil pastellist, or using a ballpoint pen, my work focuses on portraits of men and women.
"The economy in dire straits, I started 3 years ago, a series of studies [Décrisation] based on the human condition, especially the face of homeless people. Face is meaning and language. It is obviously the location for the expressions and emotions which give information about the character. However, the face is the only part of the body normally exposed and naked. We can’t hide it in our society. So every day,when we look at faces, they told. Moreover, when we look at a face, we choose to accept the social conditions of this person. That’s why the portrait has a significant place in my work.”
Bienvenue! Je suis un artiste français vivant au Brésil.
Adepte des pastels à l'huile, de l'encre de Chine ou d'un simple stylo Bic, mon travail s'articule autour de portraits d'hommes et de femmes. Si le visage est la « figure » centrale de mon art, il est avant tout langage et sens.
« Avec la crise économique, j’ai commencé, il y a trois ans, une série d’étude sur les sans-abris, les contraintes vécues, les « stigmates » qui se lisent sur les visages... Or dans le visage il y a cette nudité qui se déforme sous les expressions et les émotions. De plus dans notre société, on ne peut cacher celui-ci. Ainsi, chaque jour, lorsque je regarde un visage…il me parle. De plus, si je choisis de regarder un visage, je dois accepter les conditions sociales de celui-ci.
C'est pourquoi l’origine ethnique et la nationalité sont « brouillées » dans mon travail. A travers ce brouillage, c'est le caractère (malheureusement) universel de la pauvreté qui s'exprime.»
"The economy in dire straits, I started 3 years ago, a series of studies [Décrisation] based on the human condition, especially the face of homeless people. Face is meaning and language. It is obviously the location for the expressions and emotions which give information about the character. However, the face is the only part of the body normally exposed and naked. We can’t hide it in our society. So every day,when we look at faces, they told. Moreover, when we look at a face, we choose to accept the social conditions of this person. That’s why the portrait has a significant place in my work.”
Bienvenue! Je suis un artiste français vivant au Brésil.
Adepte des pastels à l'huile, de l'encre de Chine ou d'un simple stylo Bic, mon travail s'articule autour de portraits d'hommes et de femmes. Si le visage est la « figure » centrale de mon art, il est avant tout langage et sens.
« Avec la crise économique, j’ai commencé, il y a trois ans, une série d’étude sur les sans-abris, les contraintes vécues, les « stigmates » qui se lisent sur les visages... Or dans le visage il y a cette nudité qui se déforme sous les expressions et les émotions. De plus dans notre société, on ne peut cacher celui-ci. Ainsi, chaque jour, lorsque je regarde un visage…il me parle. De plus, si je choisis de regarder un visage, je dois accepter les conditions sociales de celui-ci.
C'est pourquoi l’origine ethnique et la nationalité sont « brouillées » dans mon travail. A travers ce brouillage, c'est le caractère (malheureusement) universel de la pauvreté qui s'exprime.»
Exhibitions:
2016 March/April Grand Playground Les Docks de Marseille (France)
2016 April In flight exhibition TAM Linhas Aéreas "Curitiba-Brasilia"
2016 March Rogue exhibition Museu Oscar Niemeyer Curitiba (Brazil)
2016 Jan/Feb Grand Playground Les Docks de Marseille (France)
2015 March/April Alliance Française Curitiba Festival Francophonie with ZAZ (Brazil)
2014 November - International art Festival les Papillons, Chapelle du Collège, Carpentras (France)
2014 November: Art fair with the Gallery Art&Miss, Paris (France)
2014 October: Collection permanent Museum Guido Viaro, Curitiba (Brazil)
2014 October: Museum Guido Viaro, Curitiba (France)
2014 June/July/August: International Art festival Carpentras (France)
2014 May/June: French Alliance Curitiba (Brazil)
2013 Sept. : Bienal Internacional de Curitiba Alliance Française Curitiba (Brazil)
2013 March: Alliance Française Curitiba e Café Babette (Brazil)
2012 July/August: City hall Brest (France)
2011 March/ April/ May: French Institut Stavanger (Norway)
2009 July: City hall Valence (France)
2009 June: exibhition “Art dans la rue” Chartres (France)
2009 April: Festival CQLAR Chalon (France)
2008 November: City Hall Brest (France)
2016 March/April Grand Playground Les Docks de Marseille (France)
2016 April In flight exhibition TAM Linhas Aéreas "Curitiba-Brasilia"
2016 March Rogue exhibition Museu Oscar Niemeyer Curitiba (Brazil)
2016 Jan/Feb Grand Playground Les Docks de Marseille (France)
2015 March/April Alliance Française Curitiba Festival Francophonie with ZAZ (Brazil)
2014 November - International art Festival les Papillons, Chapelle du Collège, Carpentras (France)
2014 November: Art fair with the Gallery Art&Miss, Paris (France)
2014 October: Collection permanent Museum Guido Viaro, Curitiba (Brazil)
2014 October: Museum Guido Viaro, Curitiba (France)
2014 June/July/August: International Art festival Carpentras (France)
2014 May/June: French Alliance Curitiba (Brazil)
2013 Sept. : Bienal Internacional de Curitiba Alliance Française Curitiba (Brazil)
2013 March: Alliance Française Curitiba e Café Babette (Brazil)
2012 July/August: City hall Brest (France)
2011 March/ April/ May: French Institut Stavanger (Norway)
2009 July: City hall Valence (France)
2009 June: exibhition “Art dans la rue” Chartres (France)
2009 April: Festival CQLAR Chalon (France)
2008 November: City Hall Brest (France)
My 1m90x1m50 artwork for the french festival des papillons
Acrylics, oil pastels, oil painting, China ink on canvas 120x80cm
I'm Ernst Lossa. I was killed when I was 14 years old by the Nazis. I was euthanized because I was "gypsy". Never forget!
"Summer 1933. While millions of Germans are paying homage to their new Fuehrer, things are going downhill for the Lossa family. They are Yenish and, as wandering traders, travel from one village to the next in southern Germany. But business is bad; vagrants are increasingly being harassed by the Nazis; and on top of it all, the mother is advanced in pregnancy and very ill. The authorities finally tear the family apart. For four-year-old Ernst Lossa, this is the beginning of a downhill slide. His mother dies and his father is taken to a concentration camp. Ernst is put into an orphanage where he is stigmatised as the "son of a gypsy" and grows up within the framework of a brutal pecking order. Ernst learns to lie and steal and creates a dream world of his own.
In 1940 Ernst is thrown out and put into a Nazi approved school. But the ten-year-old doesn't fit into the system here either. Although Ernst is a moderately good pupil, he is accused of being a lunatic. Now he is not only stamped as a "gypsy" but also as an "antisocial psychopath".
In 1942 Ernst is committed to a mental and nursing institute. Although he is neither handicapped nor mentally ill, he finds something among all the lunatics, paralytics, epileptics and nurses that he has long since missed: a family. Ernst discovers security, friendship and falls head over heels in love with one of his fellow patients.
It is not long, however, before the inquisitive lad discovers that there are strange things going on behind the façade of the mental institute. Patients get taken away, starve or die of an overdose of medicine. In summer 1944, when it begins to dawn on the Germans that the war has been lost, the nurses of death are given clear instructions: Ernst Lossa must be done away with." Robert Domes
"Summer 1933. While millions of Germans are paying homage to their new Fuehrer, things are going downhill for the Lossa family. They are Yenish and, as wandering traders, travel from one village to the next in southern Germany. But business is bad; vagrants are increasingly being harassed by the Nazis; and on top of it all, the mother is advanced in pregnancy and very ill. The authorities finally tear the family apart. For four-year-old Ernst Lossa, this is the beginning of a downhill slide. His mother dies and his father is taken to a concentration camp. Ernst is put into an orphanage where he is stigmatised as the "son of a gypsy" and grows up within the framework of a brutal pecking order. Ernst learns to lie and steal and creates a dream world of his own.
In 1940 Ernst is thrown out and put into a Nazi approved school. But the ten-year-old doesn't fit into the system here either. Although Ernst is a moderately good pupil, he is accused of being a lunatic. Now he is not only stamped as a "gypsy" but also as an "antisocial psychopath".
In 1942 Ernst is committed to a mental and nursing institute. Although he is neither handicapped nor mentally ill, he finds something among all the lunatics, paralytics, epileptics and nurses that he has long since missed: a family. Ernst discovers security, friendship and falls head over heels in love with one of his fellow patients.
It is not long, however, before the inquisitive lad discovers that there are strange things going on behind the façade of the mental institute. Patients get taken away, starve or die of an overdose of medicine. In summer 1944, when it begins to dawn on the Germans that the war has been lost, the nurses of death are given clear instructions: Ernst Lossa must be done away with." Robert Domes
Selections:
2015: Art Ibiza'15
2015: Art Expo New York - Bernard Solco Gallery
2015: Biennale International Florence (Italy)
2015: ArtExpo International Art Contemporary Milan (Italy)
2015: Miami Art expo (US)
2015: Carrousel du Louvre Paris (France)
2015: Art Prize Venice
2015: SMART Aix (France)
2015: Art Monaco '15
2015: Tokyo Art Fair 2015
2015: Art Ibiza'15
2015: Art Expo New York - Bernard Solco Gallery
2015: Biennale International Florence (Italy)
2015: ArtExpo International Art Contemporary Milan (Italy)
2015: Miami Art expo (US)
2015: Carrousel du Louvre Paris (France)
2015: Art Prize Venice
2015: SMART Aix (France)
2015: Art Monaco '15
2015: Tokyo Art Fair 2015
www.bazevian.com
