DAVID ROSADO Cavity / decay 108.5 x 96 x 4.8 cm Acrylic on paper and fiberglass, felt, silicon glue, spray, plastic eyes, wool Graphite, aluminium structure, screws 2022

DAVID ROSADO
Cavity / decay
108.5 x 96 x 4.8 cm 
Acrylic on paper and fiberglass, felt, silicon glue, spray, plastic eyes, wool Graphite, aluminium structure, screws
2022

Title

DAVID ROSADO - Cavity / decay

DAVID ROSADO Archive #1 80 x 60 cm Acrylic on canvas 2020

DAVID ROSADO 
Archive #1
80 x 60 cm
Acrylic on canvas
2020

DAVID ROSADO - Archive #1

DAVID ROSADO In search of giants 160 x 140 cm (polyptic module; 80 x 60 cm each) Acrylic on canvas 2020

DAVID ROSADO
In search of giants
160 x 140 cm (polyptic module; 80 x 60 cm each)
Acrylic on canvas
2020

DAVID ROSADO - In search of giants

DAVID ROSADO Epoxy Salvatory 140 x 120 cm Acrylic on canvas 2021

DAVID ROSADO
Epoxy Salvatory
140 x 120 cm
Acrylic on canvas
2021

DAVID ROSADO - Epoxy Salvatory

LAURENT PEYBERNES Monochrome blanc 7 52 x 72 cm Aluminium, featherboard and spray paint on wood, framed under glass museum 2019

LAURENT PEYBERNES
Monochrome blanc 7
52 x 72 cm
Aluminium, featherboard and spray paint on wood, framed under glass museum
2019

LAURENT PEYBERNES - Monochrome blanc 7

LAURENT PEYBERNES Monochrome blanc 6 52 x 72 cm Featherboard and spray paint on wood, framed under glass museum 2019

LAURENT PEYBERNES
Monochrome blanc 6
52 x 72 cm
Featherboard and spray paint on wood, framed under glass museum
2019

LAURENT PEYBERNES - Monochrome blanc 6

LAURENT PEYBERNES Bois & Métal 6 52 x 72 cm Aluminium, olive wood and spray paint on wood, white frame and silver frame 2020

LAURENT PEYBERNES
Bois &amp; Métal 6
52 x 72 cm
Aluminium, olive wood and spray paint on wood, white frame and silver frame
2020

LAURENT PEYBERNES - Bois & Métal 6

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) Chandelle 61 x 25.5 x 26 cm enamelled ceramic 2021

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE)
Chandelle
61 x 25.5 x 26 cm
enamelled ceramic
2021

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) - Chandelle

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) Lii 42 x 44 x 49 cm enamelled earthenware 2021

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE)
Lii
42 x 44 x 49 cm
enamelled earthenware
2021

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) - Lii

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) Li 32 x 30 x 11 cm Enamelled sandstones 2019

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE)
Li
32 x 30 x 11 cm
Enamelled sandstones
2019

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) - Li

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) YY 75 x 115 cm Acrylic and floor marking paint 2019

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE)
YY
75 x 115 cm
Acrylic and floor marking paint
2019

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) - YY

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) MuaontiitnoauM 115 x 200 cm Acrylic and floor marking paint 2019

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE)
MuaontiitnoauM
115 x 200 cm
Acrylic and floor marking paint
2019

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) - MuaontiitnoauM

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) Toile de parasol I 260 x 260 cm mixed media 2021

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE)
Toile de parasol I
260 x 260 cm
mixed media
2021

GUILLAUME MARTIN-TATON (MANITOU MARGINAL LUTTE) - Toile de parasol I

GREGOR BELIBI MINYA B9 Max 75 x 115 cm Acrylic and oil pastel on canvas 2019

GREGOR BELIBI MINYA
B9 Max
75 x 115 cm
Acrylic and oil pastel on canvas
2019

GREGOR BELIBI MINYA - B9 Max

GREGOR BELIBI MINYA Fields of Possibility no.3 60 x 80 cm Oil pastels on canvas 2022

GREGOR BELIBI MINYA
Fields of Possibility no.3
60 x 80 cm
Oil pastels on canvas
2022

GREGOR BELIBI MINYA - Fields of Possibility no.3

GREGOR BELIBI MINYA Fields of Possibility no.1 75 x 115 cm Oil pastels on canvas 2022

GREGOR BELIBI MINYA
Fields of Possibility no.1
75 x 115 cm
Oil pastels on canvas
2022

GREGOR BELIBI MINYA - Fields of Possibility no.1

GREGOR BELIBI MINYA House no.7 75 x 115 cm Oil and oil pastels on canvas. 2022

GREGOR BELIBI MINYA
House no.7
75 x 115 cm
Oil and oil pastels on canvas.
2022

GREGOR BELIBI MINYA - House no.7

GREGOR BELIBI MINYA House no.6 75 x 115 cm Oil pastels on canvas. 2022

GREGOR BELIBI MINYA
House no.6
75 x 115 cm
Oil pastels on canvas.
2022

GREGOR BELIBI MINYA - House no.6

GREGOR BELIBI MINYA Sainte Couronne no.3 75 x 115 cm Oil pastels on canvas. 2022

GREGOR BELIBI MINYA
Sainte Couronne no.3
75 x 115 cm
Oil pastels on canvas.
2022

GREGOR BELIBI MINYA - Sainte Couronne no.3

MEHDI CIBILLE - LE MODULE DE ZEER Module Logo Red Neon 70 x 60 cm Neon 2013 PRODUCTION TO ORDER

MEHDI CIBILLE - LE MODULE DE ZEER
Module Logo Red Neon
70 x 60 cm
Neon
2013
 
PRODUCTION TO ORDER

MEHDI CIBILLE (LE MODULE DE ZEER) - Module Logo Red Neon

MEHDI CIBILLE - LE MODULE DE ZEER Multiples singles, Alberto 30 x 30 cm Corian et acrylique 2021

MEHDI CIBILLE - LE MODULE DE ZEER
Multiples singles, Alberto
30 x 30 cm
Corian et acrylique
2021

MEHDI CIBILLE (LE MODULE DE ZEER) - Multiples singles, Alberto

MEHDI CIBILLE - LE MODULE DE ZEER Anselm 120 x 120 cm Acrylic vanta black on handcut wood 2021

MEHDI CIBILLE - LE MODULE DE ZEER
Anselm
120 x 120 cm
<div>
<span data-canva-clipboard="ewAiAGEAIgA6ADUALAAiAGQAIgA6ACIAQgAiACwAIgBoACIAOgAiAHcAdwB3AC4AYwBhAG4AdgBhAC4AYwBvAG0AIgAsACIAYwAiADoAIgBEAEEARgBoAFQAbwAxAGQAWAAtAGMAIgAsACIAaQAiADoAIgBjAG8AbwBGAG4ARABqAHUAQwA0AHgAegB6AFkAMwB4AFIAeABPAEcAMgB3ACIALAAiAGIAIgA6ADEANgA4ADYAMQAyADQAMAAwADIANwAxADQALAAiAEEAPwAiADoAIgBCACIALAAiAEEAIgA6AFsAewAiAEEAIgA6ADkANQA4AC4AMwA0ADkANgAyADYAMgA5ADkAMgAxADIAOQAsACIAQgAiADoANwA5AC4AMwA3ADAAMAA3ADgANwA0ADAAMQA1ADcANQAxACwAIgBEACIAOgA2ADMANAAuADkANgAwADYAMgA5ADkAMgAxADIANQA5ADkALAAiAEMAIgA6ADgANAAuADcAOQA5ADkAOAAsACIAQQA/ACIAOgAiAEgAIgAsACIAYgAiADoANgAzADQALgA5ADYAMAA2ADIAOQA5ADIAMQAyADUAOQA5ACwAIgBhACIAOgA4ADQALgA3ADkAOQA5ADgALAAiAGMAIgA6AFsAewAiAEIAIgA6AC0ANQAuADYAOAA0ADMANAAxADgAOAA2ADAAOAAwADgAMAAyAGUALQAxADQALAAiAEQAIgA6ADYAMwA0AC4AOQA2ADAANgAyADkAOQAyADEAMgA1ADkANgAsACIAQwAiADoAOAA0AC4ANwA5ADkAOQA4ACwAIgBBAD8AIgA6ACIASwAiACwAIgBhACIAOgB7ACIAQQAiADoAWwB7ACIAQQA/ACIAOgAiAEEAIgAsACIAQQAiADoAIgBBAG4AcwBlAGwAbQBcAG4AMgAwADIAMQBcAG4AXABuAEEAYwByAHkAbABpAHEAdQBlACAAbQBhAHQAZQAgAGUAdAAgAHMAYQBiAGwAZQAgAHMAaQBsAGkAYwBlAHUAeAAgAHMAdQByACAAdABvAGkAbABlAFwAbgAiAH0AXQAsACIAQgAiADoAWwB7ACIAQQA/ACIAOgAiAEEAIgAsACIAQQAiADoAewAiAGYAbwBuAHQALQB3AGUAaQBnAGgAdAAiADoAewAiAEIAIgA6ACIAYgBvAGwAZAAiAH0ALAAiAGYAbwBuAHQALQBzAGkAegBlACIAOgB7ACIAQgAiADoAIgAxADYALgAwADAAMAAxACIAfQAsACIAZgBvAG4AdAAtAGYAYQBtAGkAbAB5ACIAOgB7ACIAQgAiADoAIgBZAEEARgBjAGYAbwBhAEgAdQAtAHMALAAwACIAfQAsACIAZgBvAG4AdAAtAHMAdAB5AGwAZQAiADoAewAiAEIAIgA6ACIAaQB0AGEAbABpAGMAIgB9ACwAIgB0AGUAeAB0AC0AYQBsAGkAZwBuACIAOgB7ACIAQgAiADoAIgBqAHUAcwB0AGkAZgB5ACIAfQB9AH0ALAB7ACIAQQA/ACIAOgAiAEIAIgAsACIAQQAiADoANwB9ACwAewAiAEEAPwAiADoAIgBBACIALAAiAEEAIgA6AHsAIgBmAG8AbgB0AC0AdwBlAGkAZwBoAHQAIgA6AHsAIgBBACIAOgAiAGIAbwBsAGQAIgB9ACwAIgBmAG8AbgB0AC0AcwB0AHkAbABlACIAOgB7ACIAQQAiADoAIgBpAHQAYQBsAGkAYwAiAH0AfQB9ACwAewAiAEEAPwAiADoAIgBCACIALAAiAEEAIgA6ADQAOAB9ACwAewAiAEEAPwAiADoAIgBBACIALAAiAEEAIgA6AHsAIgBjAG8AbABvAHIAIgA6AHsAIgBCACIAOgAiACMAMAAwADAAMAAwADAAIgB9AH0AfQAsAHsAIgBBAD8AIgA6ACIAQgAiACwAIgBBACIAOgAxAH0ALAB7ACIAQQA/ACIAOgAiAEEAIgAsACIAQQAiADoAewAiAGMAbwBsAG8AcgAiADoAewAiAEEAIgA6ACIAIwAwADAAMAAwADAAMAAiAH0ALAAiAGYAbwBuAHQALQBzAGkAegBlACIAOgB7ACIAQQAiADoAIgAxADYALgAwADAAMAAxACIAfQAsACIAZgBvAG4AdAAtAGYAYQBtAGkAbAB5ACIAOgB7ACIAQQAiADoAIgBZAEEARgBjAGYAbwBhAEgAdQAtAHMALAAwACIAfQAsACIAdABlAHgAdAAtAGEAbABpAGcAbgAiADoAewAiAEEAIgA6ACIAagB1AHMAdABpAGYAeQAiAH0AfQB9AF0AfQAsACIAYgAiADoAewB9ACwAIgBkACIAOgAiAEEAIgAsACIAaAAiADoAIgBBACIAfQAsAHsAIgBBACIAOgAxAC4AOQAzADMAMwAyADAAMAAwADAAMAAwADAAMwAyADUAMgAsACIAQgAiADoANAAwADQALgA0ADAAMgA3ADkAOAAwADQAMwA2ADIANgA0ADMALAAiAEQAIgA6ADIAMwAwAC4ANQA1ADcAOAAzADEAOAA3ADcANgAzADMANAA1ACwAIgBDACIAOgA0ADAALgA3ADkAOQA5ADgALAAiAEEAPwAiADoAIgBLACIALAAiAGEAIgA6AHsAIgBBACIAOgBbAHsAIgBBAD8AIgA6ACIAQQAiACwAIgBBACIAOgAiADYAIAA0ADAAMACsIFwAbgAxADIAMAAgAHgAIAAxADIAMAAgAGMAbQBcAG4AIgB9AF0ALAAiAEIAIgA6AFsAewAiAEEAPwAiADoAIgBBACIALAAiAEEAIgA6AHsAIgBmAG8AbgB0AC0AdwBlAGkAZwBoAHQAIgA6AHsAIgBCACIAOgAiAGIAbwBsAGQAIgB9ACwAIgBmAG8AbgB0AC0AcwBpAHoAZQAiADoAewAiAEIAIgA6ACIAMQA2AC4AMAAwADAAMQAiAH0ALAAiAGYAbwBuAHQALQBmAGEAbQBpAGwAeQAiADoAewAiAEIAIgA6ACIAWQBBAEYAYwBmAG8AYQBIAHUALQBzACwAMAAiAH0ALAAiAHQAZQB4AHQALQBhAGwAaQBnAG4AIgA6AHsAIgBCACIAOgAiAGUAbgBkACIAfQB9AH0ALAB7ACIAQQA/ACIAOgAiAEIAIgAsACIAQQAiADoANwB9ACwAewAiAEEAPwAiADoAIgBBACIALAAiAEEAIgA6AHsAIgBmAG8AbgB0AC0AdwBlAGkAZwBoAHQAIgA6AHsAIgBBACIAOgAiAGIAbwBsAGQAIgB9AH0AfQAsAHsAIgBBAD8AIgA6ACIAQgAiACwAIgBBACIAOgAxADAAfQAsAHsAIgBBAD8AIgA6ACIAQQAiACwAIgBBACIAOgB7ACIAdABlAHgAdAAtAHQAcgBhAG4AcwBmAG8AcgBtACIAOgB7ACIAQgAiADoAIgB1AHAAcABlAHIAYwBhAHMAZQAiAH0AfQB9ACwAewAiAEEAPwAiADoAIgBCACIALAAiAEEAIgA6ADIAfQAsAHsAIgBBAD8AIgA6ACIAQQAiACwAIgBBACIAOgB7ACIAdABlAHgAdAAtAHQAcgBhAG4AcwBmAG8AcgBtACIAOgB7ACIAQQAiADoAIgB1AHAAcABlAHIAYwBhAHMAZQAiAH0ALAAiAGMAbwBsAG8AcgAiADoAewAiAEIAIgA6ACIAIwAwADAAMAAwADAAMAAiAH0AfQB9ACwAewAiAEEAPwAiADoAIgBCACIALAAiAEEAIgA6ADEAfQAsAHsAIgBBAD8AIgA6ACIAQQAiACwAIgBBACIAOgB7ACIAYwBvAGwAbwByACIAOgB7ACIAQQAiADoAIgAjADAAMAAwADAAMAAwACIAfQAsACIAZgBvAG4AdAAtAHMAaQB6AGUAIgA6AHsAIgBBACIAOgAiADEANgAuADAAMAAwADEAIgB9ACwAIgBmAG8AbgB0AC0AZgBhAG0AaQBsAHkAIgA6AHsAIgBBACIAOgAiAFkAQQBGAGMAZgBvAGEASAB1AC0AcwAsADAAIgB9ACwAIgB0AGUAeAB0AC0AYQBsAGkAZwBuACIAOgB7ACIAQQAiADoAIgBlAG4AZAAiAH0AfQB9AF0AfQAsACIAYgAiADoAewB9ACwAIgBkACIAOgAiAEEAIgAsACIAaAAiADoAIgBBACIAfQBdAH0AXQAsACIAQgAiADoANwA5ADMALgA3ADAAMAA3ADgANwA0ADAAMQA1ADcANAA5ACwAIgBDACIAOgAxADEAMgAyAC4ANQAxADkANgA4ADUAMAAzADkAMwA3ADAAMgB9AA==">
<div>
Acrylic vanta black on handcut wood
2021
</div>
</div>

MEHDI CIBILLE (LE MODULE DE ZEER) - Anselm

MEHDI CIBILLE - LE MODULE DE ZEER Red Dot 120 120 cm in diameter Acrylic mate and silica sand on canva 2022

MEHDI CIBILLE - LE MODULE DE ZEER
Red Dot 120
120 cm in diameter
Acrylic mate and silica sand on canva
2022

MEHDI CIBILLE (LE MODULE DE ZEER) - Red Dot 120

SILVIO MILDO Riez la nuit 100 x 80 cm Acrylic and oil on linen canvas 2022

SILVIO MILDO
Riez la nuit
100 x 80 cm
Acrylic and oil on linen canvas
2022

SILVIO MILDO - Riez la nuit

SILVIO MILDO Riez le jour 100 x 80 cm Acrylic and oil on linen canvas 2022

SILVIO MILDO
Riez le jour
100 x 80 cm
Acrylic and oil on linen canvas
2022

SILVIO MILDO - Riez le jour

SILVIO MILDO Untitled 116 x 89 cm Acrylic and oil on linen canvas 2022

SILVIO MILDO
Untitled
116 x 89 cm
Acrylic and oil on linen canvas
2022

SILVIO MILDO - Untitled

Arts

Spring-Summer

News

Paintings

Born in 1976 in Évora, Portugal, the artist lives and works in Lisbon. Graduated in painting and multimedia art from the University of Fine Arts in Évora in 2004, he has been exhibiting his work for over 20 years. In 2007, he obtained the 3rd place for the Ariane de Rothschild prize during an exhibition at the Palace Galveias, which helped him gain recognition in Italy and Spain. The artist constantly seeks new ways of creating and draws his poetry from the world around him. His works aim to redefine the images of our contemporary society, often sourced from the internet. He uses a variety of materials depending on their relevance to his work. Rosado establishes a connection between street art and contemporary art. He works with rigor, believing in the power of labor and mistakes. He dedicates eight hours a day to his poetry, working layer by layer with specific details for each painting. His goal is to create a harmonious balance within visible chaos.

Born in 1976 in Évora, Portugal, the artist lives and works in Lisbon. Graduated in painting and multimedia art from the University of Fine Arts in Évora in 2004, he has been exhibiting his work for over 20 years. In 2007, he obtained the 3rd place for the Ariane de Rothschild prize during an exhibition at the Palace Galveias, which helped him gain recognition in Italy and Spain.
The artist constantly seeks new ways of creating and draws his poetry from the world around him. His works aim to redefine the images of our contemporary society, often sourced from the internet. He uses a variety of materials depending on their relevance to his work.
Rosado establishes a connection between street art and contemporary art. He works with rigor, believing in the power of labor and mistakes. He dedicates eight hours a day to his poetry, working layer by layer with specific details for each painting. His goal is to create a harmonious balance within visible chaos.

David Rosado

Default Title

Laurent, born in 1985, is a passionate graffiti artist based near Montpellier. Since 1997, he has been practicing painting, first as a self-taught graffiti artist, then as a graphic designer, and recently as a visual artist. He appreciates hybrid projects and collaborations that combine different practices, such as video mapping or augmented reality. His works are characterized by the use of geometry and light, whether in his spray-painted canvases or in his volumetric structures using materials such as wood, foam board, and wool, paying homage to nature and celestial bodies. Laurent aspires to a total art that combines painting, graphics, and digital mediums, transcending the fixed medium. His compositions of jagged triangles evoke Cubism while incorporating an open hybridization to sensation, lyricism, and spatialization, thus pushing the restrictive limits associated with Cubism. By projecting colors or lights onto programmed surfaces, he achieves a vision similar to what Malevich envisioned in his Architectones in 1920.

Laurent, born in 1985, is a passionate graffiti artist based near Montpellier. Since 1997, he has been practicing painting, first as a self-taught graffiti artist, then as a graphic designer, and recently as a visual artist.
He appreciates hybrid projects and collaborations that combine different practices, such as video mapping or augmented reality. His works are characterized by the use of geometry and light, whether in his spray-painted canvases or in his volumetric structures using materials such as wood, foam board, and wool, paying homage to nature and celestial bodies.
Laurent aspires to a total art that combines painting, graphics, and digital mediums, transcending the fixed medium. His compositions of jagged triangles evoke Cubism while incorporating an open hybridization to sensation, lyricism, and spatialization, thus pushing the restrictive limits associated with Cubism. By projecting colors or lights onto programmed surfaces, he achieves a vision similar to what Malevich envisioned in his Architectones in 1920.

Laurent Peybernes

Sculptures

Guillaume MARTIN-TATON was born in 1991. Painting has always been a part of his life, with an artist mother and an entrepreneur father in the industrial painting sector (thermocoating: deposition of powder paint by electrostatic effect, polymerizing at 200°C). During his master's studies at the Fine Arts of Montpellier, he had an exchange program at the National Art School in Sydney, where he developed his artistic universe inspired by ground markings and signage. Modern man has drawn inspiration from nature to establish signage (aposématism: a set of mechanisms by which an animal sends a signal to potential predators to warn them of its toxicity). Our movements in urban spaces are conditioned by this code. Martin-Taton uses this characteristic as a support, thus establishing an inventory and a nomenclature of forms on which he can rely in his artistic work. His creations take on various forms: paintings, sculptures, ceramics, installations, performances. He considers ground markings and signage as a universal language understood by almost the entire population. As such, he sees it as the foundation of humanity's tribal identity. His creative process revolves around a personal mythology, in which Manitou Marginal Lutte, his alter ego, appropriates this code to merge it with his own alphabet composed of 676 characters. Bringing together this universally understood code with this still unknown alphabet highlights the tribal values that the artist attributes to it. Black and yellow striped bands, red and white stripes, fluorescent colors, and retro-reflective materials are part of the color and material dictionary he imposes on himself to produce the artifacts related to this tribe.

Guillaume MARTIN-TATON was born in 1991. Painting has always been a part of his life, with an artist mother and an entrepreneur father in the industrial painting sector (thermocoating: deposition of powder paint by electrostatic effect, polymerizing at 200°C). During his master's studies at the Fine Arts of Montpellier, he had an exchange program at the National Art School in Sydney, where he developed his artistic universe inspired by ground markings and signage.
Modern man has drawn inspiration from nature to establish signage (aposématism: a set of mechanisms by which an animal sends a signal to potential predators to warn them of its toxicity). Our movements in urban spaces are conditioned by this code. Martin-Taton uses this characteristic as a support, thus establishing an inventory and a nomenclature of forms on which he can rely in his artistic work. His creations take on various forms: paintings, sculptures, ceramics, installations, performances. He considers ground markings and signage as a universal language understood by almost the entire population. As such, he sees it as the foundation of humanity's tribal identity.
His creative process revolves around a personal mythology, in which Manitou Marginal Lutte, his alter ego, appropriates this code to merge it with his own alphabet composed of 676 characters. Bringing together this universally understood code with this still unknown alphabet highlights the tribal values that the artist attributes to it. Black and yellow striped bands, red and white stripes, fluorescent colors, and retro-reflective materials are part of the color and material dictionary he imposes on himself to produce the artifacts related to this tribe.

Guillaume Martin-Taton

Grègór was born in 1989 to a Hungarian mother and a Cameroonian father within a Mormon religious society. At the age of 21, he left this community to forge his own path as an artist. He began by drawing inspiration from masters of chiaroscuro, particularly Rembrandt, whose way of illuminating mystery and the absolute deeply influenced him. He studied drawing at the Cité des Arts in Chambéry. To further delve into his artistic exploration, he joined the Higher School of Fine Arts in Nîmes, Cherbourg, and Caen. In 2018, he obtained his national art diploma. Grègór oscillates between interiority and exteriority, painting and music. His unconventional artistic journey aims to deconstruct in order to reveal the essence of being, in a metaphysical quest. His work explores the mysteries of existence, nature, cosmos, mind, and religion, offering a new experience of metaphysics through art. Through color, energy, and the spiritual dimension emanating from his works, Grègór provides a sensory experience that invites the viewer to connect with their intuition and imagination, leaving aside their own reality to embrace a new experience. His unique yet existential quest raises eternal questions.

Grègór was born in 1989 to a Hungarian mother and a Cameroonian father within a Mormon religious society. At the age of 21, he left this community to forge his own path as an artist. He began by drawing inspiration from masters of chiaroscuro, particularly Rembrandt, whose way of illuminating mystery and the absolute deeply influenced him. He studied drawing at the Cité des Arts in Chambéry. To further delve into his artistic exploration, he joined the Higher School of Fine Arts in Nîmes, Cherbourg, and Caen. In 2018, he obtained his national art diploma.
Grègór oscillates between interiority and exteriority, painting and music. His unconventional artistic journey aims to deconstruct in order to reveal the essence of being, in a metaphysical quest. His work explores the mysteries of existence, nature, cosmos, mind, and religion, offering a new experience of metaphysics through art. Through color, energy, and the spiritual dimension emanating from his works, Grègór provides a sensory experience that invites the viewer to connect with their intuition and imagination, leaving aside their own reality to embrace a new experience. His unique yet existential quest raises eternal questions.

Gregor Belibi Minya

Mehdi Cibille is an artist born in 1976 in the Parisian region of Sartrouville, currently living and working in Aix-en-Provence. Since the early 2000s, he has been exploring the visual and graphic elasticity of a form composed of four spheres connected by small joints. This form, called the Zeer Module, is traced in black with a thick line that delimits and contains. Mehdi Cibille questions the plastic permanence and constant evolution of a logo that has become logos, putting this form to the test in different spaces, mediums, and scales. Recently, Mehdi Cibille has been invited to transpose his urban interventions into galleries, creating correspondences between two seemingly opposing approaches. His work in galleries sometimes complements his work in the streets. Mehdi Cibille's inspirations come from comic books (Métal Hurlant, Mœbius, Druillet), the Punk and New Wave culture of the 1980s and 1990s, as well as his childhood and youth marked by a vibrant musical universe, from which he retains the eloquence of visual productions such as vinyl covers, posters, and concert flyers. Mehdi Cibille thus becomes the "craftsman" of the Zeer Module and invests urban spaces, particularly walls, parks, abandoned buildings, and industrial wastelands. His art, which falls under Street Art, is also a social and political act. Each intervention allows him to push the limits of the Zeer Module. The motif transforms according to the variations imposed by the artist. Through his interventions, Mehdi Cibille highlights the flaws, paradoxes, and contradictions of public space, inviting people to take their place in the collective and in what constitutes society.

Mehdi Cibille is an artist born in 1976 in the Parisian region of Sartrouville, currently living and working in Aix-en-Provence. Since the early 2000s, he has been exploring the visual and graphic elasticity of a form composed of four spheres connected by small joints. This form, called the Zeer Module, is traced in black with a thick line that delimits and contains. Mehdi Cibille questions the plastic permanence and constant evolution of a logo that has become logos, putting this form to the test in different spaces, mediums, and scales. Recently, Mehdi Cibille has been invited to transpose his urban interventions into galleries, creating correspondences between two seemingly opposing approaches. His work in galleries sometimes complements his work in the streets.
Mehdi Cibille's inspirations come from comic books (Métal Hurlant, Mœbius, Druillet), the Punk and New Wave culture of the 1980s and 1990s, as well as his childhood and youth marked by a vibrant musical universe, from which he retains the eloquence of visual productions such as vinyl covers, posters, and concert flyers.
Mehdi Cibille thus becomes the "craftsman" of the Zeer Module and invests urban spaces, particularly walls, parks, abandoned buildings, and industrial wastelands. His art, which falls under Street Art, is also a social and political act. Each intervention allows him to push the limits of the Zeer Module. The motif transforms according to the variations imposed by the artist. Through his interventions, Mehdi Cibille highlights the flaws, paradoxes, and contradictions of public space, inviting people to take their place in the collective and in what constitutes society.

Mehdi Cibille

Silvio Mildo was born in Marseille in 1992. His parents have Portuguese origins on his father's side and Armenian origins on his mother's side. Since his childhood, he has had a strong interest in art. However, it was as a self-taught artist that he became a painter at the age of 22. For Silvio Mildo, artistic creation is a matter of energy and movement. His works, abstract and sometimes primitive, capture the emergence of his thoughts, memories, and emotions, offering an intimate journal of his life and state of mind. According to him, when he paints, he fully expresses himself. To reclaim his family history, he chooses to obsessively focus on a motif: the apricot. By reinterpreting this emblem of Armenia, he simplifies his palette and opens up his compositions to channel his creative impulses and give a prominent place to sketches and strokes. According to him, he has decided to paint "in a hushed voice." This artistic direction also allows him to approach figuration and confront the still life genre, thus pushing further into the exploration of the pictorial territory to which he has fully dedicated himself.