The relationship to the canvas and to space, both the canvas itself and the place that houses it: the work is a world unto itself, releasing a new reality the moment it is exhibited. How can the internal composition of the work be connected to the surrounding architecture? The artist plays with the field, the off-field, the borders and margins of the chosen formats. But the exhibition space in turn opens up a horizon: it leaves the viewer free to compose their own mental score, oscillating between emptiness, narrative, suspended time or the rhythm they feel.

How does one move from a technical exercise, from respect for academic codes, towards the evanescent, the uncertain, the imaginary? This is the poetry of letting go: the assumed freedom of interpretation offered to the viewer. They search within themselves, thereby pushing back the limits of the visible, in an intimacy made of that secret, almost silent dialogue between the canvas and the person who, for the space of a glance, makes it their own by weaving in the threads of their own story.

RASHID AL KHALIFA Rashid Al Khalifa's latest works continue to explore the myriad dynamics of light and colour that characterise Bahrain's geographical and cultural diversity. He is currently focused on the interplay of these properties to underpin his bold interpretations of his cultural heritage. Through splendid, imposing structures, meticulous forms and intricate designs, Rashid's artistic practice is a contemporary tribute to traditional Middle Eastern design and architecture.

OLIVIA COGNET Raised in Nice on the Côte d'Azur, trained at the Villa Arson, nourished by the genius of the great masters of the Vallauris school from Picasso to Roger Capron, Olivia Cognet makes ceramics a flagship element of architecture. She first brings her ideas to life flat, through drawing, before working with stoneware, a local clay she uses in three natural shades. Her creations cultivate the power of contrast; her geometric, minimal lines engage in dialogue with a more sensual, organic vocabulary. The austere aesthetic of raw earth combines with the delicacy of glazes that emerge in crackles, sources of singular evocations.

KAHINA LOUMI Created during her residency in Beausoleil in 2024, the works in the "Bleu, Orange, Citron" series are unique pieces with vast blocks of colour, blending infinite landscapes, natural elements and vibrant hues. Her art, at the crossroads of abstraction and realism, evokes both outer and inner landscapes, aquatic and mineral surfaces, creating an atmosphere that is at once serene and dynamic.

SOO KYOUNG LEE She brings abstract, colourful forms to life on monochrome backgrounds, without any preparatory drawing. It is the action of the brush, the spontaneous gesture and the colours that reveal themselves to the viewer. All of Soo Kyoung Lee's work is the result of a perpetual exchange between the body and the canvas. The forms that Soo Kyoung Lee brings forth are not thought out in advance. They emerge as the work progresses, structured directly on the canvas, through a multitude of layers and underlayers of acrylic in different colours that the artist applies as her eye guides her. The artist explains that "thinking and acting are simultaneous" throughout the creative process. Each gesture contributes to the emergence of these characteristic imprints; with every gesture, there is a new discovery and a new source of inspiration for the artist.

GUILLAUME MOSCHINI Guillaume Moschini's palette is bold and contrasted: harmonies of yellow and green, orange and blue… but also more muted tones, from beige to grey. The forms are of the simplest kind: two rectangles in imbalance, with generous breathing space given by the whites or the raw tones of the untouched canvas. The two forms then become nothing more than a whisper, just a few outlines in negative, consumed by colour. This colour, blended from ink and acrylic, is very fluid, and each time it settles differently on the canvas. For each series, Guillaume Moschini seeks "the right brush, the right tools, the right tension of the canvas." Colours and tones are invented anew for each new set of variations. Guillaume Moschini's painting has an "illusory simplicity." Long meditated upon in the solitude of a well-ordered studio, it is deeply felt. It is all a matter of rhythm.

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