Gérald Panighi & Laurie Jacquetty
Born in 1974 in Menton, lives and works in Nice, Graduate of the École Nationale Supérieure d’art Villa Arson, Nice
“Of course, when I first saw Gérald Panighi’s little pictures invading a whole wall with a certain casualness, as if they were just banal Post-It, my gaze wandered over this dizzying atomization. There is much to see and read in Gérald’s work.
Immediately, but it’s certainly a bit silly, I told myself that he must have feasted on Strange like many boys of his generation and maybe even fell in his childhood on traumatic numbers of “Detective” in which the blows, despite the hyper-expressiveness of the individuals drawn by Angelo Di Marco, do not only generate onomatopoeia. At this distant time of his life, he may also have remained quite perplexed by Magritte’s “This is not a pipe”, an anti-tautology so seductive, after all… If the representation is not the real, the dissociation conjugated in the manner dear to the surrealists has an even more abstruse charm. Nothing more enigmatically bewitching than this assumed dysfunction of the image.
It was appreciated at Magritte as it was revered in the 80s, in the more trivial world of illustration at Glenn Baxter… The absurd is the occlusive answer to all the derisory speculations and it is precisely this that manages to be deliciously enjoyable without ever oozing the slightest pretension in Gérald Panighi’s creations. »
Michèle Goarant, 2011
Born in 1990 in Menton, lives and works in Menton, Graduated of the École Nationale Supérieure d’art Villa Arson, Nice
In her comic book “When I’m bored I draw my dog” Laurie Jacquetty uses her dog Patsy to tell anecdotes about everyday life. Poetic, tender, funny and biting at the same time, her stories are drawn with a simple fine line and sensitive to ink with a few touches of watercolor.
His sculptures also show an economy of means: they are made from a collection of poor materials, recovered objects, derisory and precarious. Evolving as they are found and combined, they are not thought of as a finished form but executed in a certain urgency with what is spontaneously offered to her and with elementary gestures reminiscent of childhood. Her assemblages of bric et de broc take on the meaning of dwelling, of refuge and refer to the idea of catastrophe to come even if they can lend a smile by their sometimes fortuitous associations and their naive character.