isabelle vicherat 2013

7/22/2019 Isabelle Vicherat 2013

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I S A B E L L E V I C H E R A T


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www.artisabellevicherat.blogspot.com / [email protected] / +33(0)621483104


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Isabelle Vicherat par Marion Alluchon - publication 2010 Portraits La

galerie- extrait

(...) Isabelle Vicherat travaille principalement sur la reprsentation du corps

humain pour aborder des questions existentielles. Construites avec des mat-

riaux pauvres et sur des mises en scne simples, ses pices (...) interrogent

la condition humaine. Usant de la mtaphore et de lallgorie, prfrant le

registre de la suggestion celui de la narration, Isabelle Vicherat interprte le

geste comme une parole, lexpression corporelle comme un langage crant

des uvres dune puissante force de communication qui tablissent avec le

spectateur la possibilit dune intime communion.

Isabelle Vicherat by Marion Alluchon - publication 2010 Portraits Thegallery - extract

(...) Isabelle Vicherat works mainly on the representation of the human body

to approach existential questions. Made with poor materials and simple direc-

tions, her work (...) questions the human condition. Using the metaphor and

the allegory, preferring the register of the suggestion to the one of the narra-

tion, Isabelle Vicherat interprets the gesture as a word, the self-expression

through movement as a language creating works of a powerful strength of

communication which establish with the spectator the possibility of an intimate

communion.


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(...) Un observateur inattentif verrait dans le travail dIsabelle Vicherat deux

directions antagonistes : dun ct, elle nous montre souvent des choses ter-riblement concrtes scalps ou tresses de cheveux (la boue, la crasse et le

cheveu, emblmes depuis Platon de la concrtude dans ce quelle a de plus

grotesque) de lautre, elle semble en permanence attache soustraire

quelque chose notre regard, nous obliger, dirait un photographe, faire

le point sur une chose invisible. Mais cest peut-tre que son ambition est de

rendre sensible l ide de labsence et de linvisible, de nous faire prouver en

images le caractre terriblement concret, parfois, de labsence.

Didier Semin

(...) An inadvertent observer would see in the work of Isabelle Vicherat twoopposite directions: on one side, she often shows us things terribly concrete

- scalps or plaits (the mud, the grime and the hair, the emblems since Platon

of the concretude in what it has of more grotesque) - on the other one, she

seems permanently attached to subtract something from our glance, to oblige

us, would say a photographer, to focus on an invisible thing. But it is maybe

that her ambition is to make sensitive the idea of the absence and the invi-

sible, to make us feel in images the character terribly concrete, sometimes, of

the absence.

Didier Semin


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A travers la vido, linstallation et le dessin, je propose un langage qui retrans-

crit parfois ironiquement, dautres fois potiquement, des comportements

relationnels et des ressentis intrieurs.

Mon travail voque les frontires que lon cre en nous-mme et entre

nous. Des frontires comme des zones de sparation, de dlimitation ou

dchanges, de transmissions. Des terrains de troubles, de tensions, parfois

de conits, entre rsistance et dsir.

Il est souvent question dextraire des lments dune ralit quotidienne ou

dune tradition pour les sortir de leur contexte et les rvler sous un aspect

particulier. Je les isole, je les confronte une gestuelle, un objet, parfois je les

fais apparatre, disparatre... Je fabrique des mises en situation en cherchant

les charger dun autre sens, en tirer une dimension symbolique.

Through video, installation and drawing, I propose a language which retrans-cribes sometimes ironically, other times poetically, relational behaviors and

inner states.

My work evokes the borders that we create in ourself and between us. Borders

as zones of separation, demarcation or exchanges, transmissions. Lands of

confusions, tensions, sometimes conicts, between resistance and desire.

It is often a necessary question to extract elements of a daily reality or a

tradition in order to take them out of their context and reveal them under a

particular angle. I isolate them, I confront them with a body movements, an

object, sometimes I make them, appear or disappear... I set down situation by

trying to give them another meaning, to reveal them in a symbolic dimension.


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Sans titre, installation vido, 2008.

DV PAL, 4:3, noir et blanc, 24 secs, vido projete en boucle sur support noir,

dimensions (variables): 100cm x 140cm.

Des pieds et des mains saccrochent avec tension une corde. Recherche

incessante et angoissante dun plausible quilibre.

Lien web (mot de passe: isabellevicherat): https://vimeo.com/49350702

Sans titre (untitled), video installation, 2008.

DV PAL, 4:3, black and white, 24 secs, video projected in a loop on black

cardboard, dimensions (variables): 100cm x 140cm.

Feet and hands hang on with tension to a rope. Ceaseless and alarmingsearch of one believable balance.

Web link (password: isabellevicherat): https://vimeo.com/49350702


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Images extracted from the video. Untitled, video installation, 2007.


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Rituel fabriqu, vido, 2008.

DV PAL, 4:3, noir et blanc, 1 min 34 secs, vido diffuse en boucle sur moni-

teur.

Un rve/rituel imaginaire compos par des lments oniriques et symbo-

liques. Une ction qui prend soin des secrets dun passage initiatique.


Rituel fabriqu (Made rite), video, 2008.

Dv Pal, 4:3, black and white, 1min 34 secs, video projected in a loop on moni-

tor.

An imaginary dream / rite composed of fantasy and symbolic elements. Action which takes care of secrets of an initiatory passage.



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Images extracted from the video. Rituel fabriqu (Made rite), video, 2008.


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Larmes, installation vido, 2008.

DV pal, 4:3, couleurs,10 min, vido projete en boucle sur des placards decuisine, dimensions 90cm x 70 cm.Un plan xe de joues est projet sur des placards de cuisine. A laide dun dis-positif dissimul, des gouttes deau relles glissent sur les parois du meubleet donc sur limage des joues. La ralit physique de leau cre une troublanterelation avec la virtualit du visage. Une prsence fantomatique qui laisseraitses traces dans le rel.

Tears, video installation, 2008.

DV pal, 4:3, colors, 10 min, video projected in a loop on kitchen cupboards,

dimensions 90cm x 70 cm.A static shot of cheeks is projected on kitchen cupboards.With a hidden drop-

per, real drops of water slide on the walls of cupboards and thus on the image

of cheeks. The physical reality of the water creates a particular relation with

the virtuality of the face. A ghostly presence which would leave its tracks in

the real.


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Above: image extracted from the video. Larmes (Tears), Video installation, 2008.Opposite: photos Sebastien Moitrot. View of the video installation Larmes (Tears), Workshop session with Jan Fabre, Ensba, Paris, 2008.


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Diptyque, installation de 2 vidos, 2009.

DV pal, 4:3, couleurs, 2 min 45 secs, 2 vidos projetes en boucle sur supportnoir, dans un coin de salle, dimensions: 100cm x 140cm chacune.Des mains sortent de lombre pour venir se cogner, paumes plat, contre uncarreau invisible. Sadressant directement au spectateur - et elles-mmes -elles formulent une tentative de communication dsespre, le constat dunerelation dsire mais inaccessible.

Marion Alluchon

Diptyque, installation of 2 videos, 2009.

Dv Pal, 4:3, colors, 2 mins 45 secs, 2 videos projected in loop on black card-

board, in a rooms corner, dimensions: 100cm x 140cm each of them. Hands go out of the darkness to come to bang, palms layed at on an invi-

sible pane. Addressing directly to the spectator - and to themselves - they

formulate an attempt of desperate communication, the report of a wished but

inaccessible relation.

Marion Alluchon


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Above: images extracted from the 2 videos. Diptyque, video installation, 2009.

Opposite: photo Renata Har. View of the video installation Diptyque.Exhibition Entre deux, Espace Arts Sans Frontires, Paris, 2010.


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Noeud, installation vido, 2009.

DV pal, 4:3, couleurs, 1 min 43 secs, vido projete en boucle sur supportnoir, dimensions: 45cm x 60cm.Un homme et une femme se heurtent leur lien. Positionns dos dos, ilscherchent avancer chacun droit devant eux. Lhomme se fait alors trangleret la femme se fait tirer les cheveux.

Nud (Knot),video installation, 2009.

Dv Pal, 4:3, colors, 1 min 43 secs, video projected in a loop on black card-

board, dimensions:45 cm x 60 cm.

A man and a woman come up against their link. Positioned back to back, they

try to move forward straight ahead. The man then is strangled and the hairswoman is pulled.


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Above: images extracted from the video. Nud (Knot), video installation, 2009.

Opposite: photo Sybille. View of the video installation Nud, Ensba, Paris, 2009.


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Echanges, installation vido, 2009.

DV PAL, 4:3, couleur, 1 min 49 secs, vido projete en boucle sur papier noir,dimensions: 200cm x 140cm.Une barre invisible rassemble des mains qui saccrochent et se dcrochent.Un mouvement comme une dcision. Trouble entre lintention dune rencontreet labsence de contact direct. La tension corporelle charge le vide, linvisibledune trange prsence.


Echanges (exchanges), video installation, 2009.

DV PAL, 4:3, color, 1 min 49 secs, video projected in a loop on black paper,dimensions: 200cm x 140cm.

An invisible bar gathers hands which hang on and fall down. A movement as

a decision. Confusion between the intention of a meeting and the absence of

direct contact. The physical tension loads the space, the invisible of a strange

presence.



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Above:images extracted from the video. Echanges (Exchanges), video installation, 2008.

Opposite: photo Sybille. View of the video installation Echanges. Exhibition Sous tension, Ensba, Paris, 2010.


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Sans titre, vido, 2009.

Vido PAL, 4:3, couleurs, 4 min 30 secs, Taille de projection variable.Un non-lieu sans qualits. Un vide qui annonce la pauvret humaine de la si-tuation. Confusion de lamour et du pouvoir. Les gestes remplacent les mots.


Untitled, video, 2009.

Video PAL, 4:3, colors, 4 min 30 secs, variable size of projection.

A space which announces the human poverty of the situation. Confusion of

love and power. Gestures replace the words.



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Above: images extracted from the video. Sans titre (Untitled), video, 2009.

Opposite: photo Sybille. View of the retro projection Sans titre. Exhibition Sous tension,Ensba, Paris, 2010.


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Tain, installation vido, 2011.

2 vidos, HDV, 16:9, couleurs, 2 min 30 secs, dimensions: 90cm x 170cm. Les2 vidos sont synchronises et projetes en boucle en face face.Une gestuelle inspire de la vie quotidienne explore les notions de sductionet de narcissisme et trouble les frontires de ces deux tats. Les personnagesse regardent tantt lun et lautre tantt dans un miroir qui nest pas rendu vi-sible dans limage. Dautres fois, ils regardent la camra, soit le spectateur. Levisiteur circule dans ce jeu de regards qui questionne le sens de lapparence. qui sadresse limage de sduction de ses personnages? eux- mmes? lun et lautre? Au spectateur?


Tain, video installation, 2011.

2 HDV videos, 16:9, colors, 2mins 30 secs, dimensions: 90 cm x 170 cm.

These 2 videos are synchronized and projected in loop in front of each other.

A gestual inspired by the everyday life investigates the notions of seduction

and narcissism and disturb the borders of these two states. The characters

look sometimes to each other and sometimes in a mirror which is not visible

in the image. Occasionally, they look at the camera, which means at the spec-

tator. The visitor circulates in this play of glances which questions the sense

of the appearance. Whom addresses the image of seduction of these charac-

ters? To themself? To each other? To the spectator?



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Above: images extracted from the 2 videos. Tain, video installation, 2011.

Opposite: View of the video installation Tain, Paris, 2011.


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Un 2, vido, 2011.

Vido HDV, 16:9, noir et blanc, 1 min 34 secs, diffuse en boucle.De limpossible fusion limpossible entit.


Un 2 (one 2), video, 2011.

HDV video, 16:9, black and white, 1 min 34 secs, diffused in a loop.

From impossible fusion to impossible entity.



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Images extracted from the video. Un 2, video installation, 2011.


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A VIDE, vido, 2013.

Vido HDV, 16:9, couleur, 4 min 25 secs, taille de projection variable.Des femmes autour de la trentaine, munies de poussettes vides exprimentcorporellement et mtaphoriquement leur rapport la notion de fcondit.Laction prend place dans une zone urbaine dsertique. Espace dans lequel ilny a rien faire mais o en mme temps tout peut se faire.Les poussettes vides se prsentent comme des points dinterrogations. Ellessymbolisent lide dun enfantement possible et pourtant non ralis jusquprsent. Il sagit dun objet contemporain et commun qui lorsquil est employpar une femme la renvoie directement son identit de femme/ mre.


A VIDE (from emptyness), video, 2013.

HDV video, 16:9, color, 4 mins 25 secs, variable size of projection.

Women around thirty years old, holding empty strollers and express physically

and metaphorically their feelings about their ability to give birth.

The action takes place in a desert urban zone. Space where there is nothing

to do but where at the same time everything can be done.

The empty strollers appear as interrogation marks. They symbolize the idea of

a possible and nevertheless unimplemented childbirth. It is about a contem-

porary and common object which sends woman back directly to her feminine/

mother identity.



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Images extracted from the video.A VIDE, video, 2013.


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Ecrit sur le front, installation vido, 2012.

Vido HDV, 16:9, couleur, 1 min 56 secs, vido projete en boucle dans uneblack box, sur un mur, taille de projection: hauteur 200 cm x largeur 300 cm.Des apparitions et des disparitions incessantes de visages chelle rellefont face au spectateur mais galement la lumire qui les rvle. Il sagit deportraits anonymes en mouvement. Les personnes sefforcent de faire face la lumire qui est dirige sur leur front et qui a pour rle de les blouir. Unequte personnelle qui ncessiterait de rsister un possible aveuglement.Cette vido a t ralise en Armnie. Si lon traduit littralement le mot des-tin en armnien cela se dit Ce qui est crit sur le front.


Ecrit sur le front (Written on forehead), video installation, 2012.

HDV video, 16:9, colors, 1 min 56 secs, video projected in a loop in a black

box, size of projection: height 200 cm x width 300 cm.

Appearances and disappearances of faces - in real scale - face the specta-

tor but also the light which reveals them. It is about anonymous portraits in

movement. These people try hard to face the light which is pointed at their

forehead and which has the role to dazzle them. An inner seek which would

require to resist to a possible blindness. This video was realized in Armenia. If

we translate literally the word fate into Armenian language, it means what

is written on the forehead.



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Above: images extracted from the video. Ecrit sur le front (written on forehead), video installation, 2012.

Opposite:View of the video installation Ecrit sur le front. Exhibition Survivances,LIFT, Marseille, 2013.


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Numenest un projet multimdia (installation et vido) ralis et prsent enArmnie travers une exposition personnelle AJZ spaceen 2012.

Une vieille tradition populaire armnienne consiste lire lavenir dans le marcde caf. Observer cette coutume permet dapprocher la ralit dune autremanire et de questionner la nature humaine sur ses espoirs, dsirs et peurs.Lenjeu est aussi dvoquer un ancien rituel travers des outils contempo-rains an douvrir un dialogue entre tradition et modernit.

En Armnie, une dame a lu mon avenir dans ma tasse de caf. Jai enregistrle son de ses prdictions et jai utilis cet enregistrement comme support detravail.Ce projet se compose de 3 travaux: une installation vido; Sans titre, uneinstallation; Coffee carpet, et une vido; Sans titre (Anoush).

Numenis a multimedia project (installation and video) realized and presented

in Armenia through a personnal exhibition in AJZ space, in 2012.

It evokes the old and popular armenian tradition of reading the future in the

coffee marc. Coffee cup reading is a way to approach reality from another

side. It is a reection of human nature through its hopes, desires, and fears.

It is also a necessary question to evoke an old ritual through a contemporary

medium to open a dialogue between tradition and modernity.

In Armenia, Ive met a woman who red me the future in my coffee cup. Ive

recorded those predictions and used this record as a working support.

This work gathers 3 pieces: a video installation; Untitled, an installation; Cof-

fee carpetand a video; Untitled (Anoush).


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Sans titre, installation vido, 2012.Vido HD avec audio, 16:9, 2 min 23 secs, projete en boucle, dimensions

(variable): 150 cm x 150 cm.

Ici, le processus du marc de caf qui coule le long des parois de la tasse estlm. Cest linstant prcis o le destin se dessine. Au fur et mesure que

lavenir est rvl par le son, il est cach par limage. Pendant que le cafvoile la vue de la tasse en coulant, une dame raconte les prdictions.

Untitled, video installation, 2012.

HD video,& audio, 16:9, colors, 2 min 23 secs, projected in a loop, dimensions(variable): 150 cm x 150 cm.

Here, the process of the coffee marc sliding on the walls of the cup is shot.

This is the right moment when the destiny is drawn up. The destiny is revealed

by the audio and hidden at the same time by the image. While the coffee is

covering the view of the cup, a woman is telling the predictions.

(..)Avec une clef, tu vas ouvrir la porte. Tu vas peut tre te

i l Il i d l l f i

Tout est clair. Il y a une lampe qui est dans la maison. Il y a

l d i di l h C

(...) Vous tes assis,vous tes lis par une corde qui forme une

d V li d il d l


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marier en ouvrant la porte. Il y a un point ct de la clef qui

annonce 1 jour ou 1 mois, je ne sais pas. Une bonne chose

tattends.

(..) With a key, you are going to open the door. You can maybe

get married by opening the door. There is a point next to the

key which announces 1 day or 1 month, I do not know. A good

thing is waiting for you.

Above: texts of audio transcriptions extractsand images extracted from the video. Untittled, video installation, 2012.

Opposite: View of the video installation Untitledwith the installation Coffee carpet. Exhibition Numen, AJZ space,Yerevan, Armenia, 2012.

quelquun de press qui veut te dire quelque chose. Cest un

grand. Il vient en face de toi pour te dire quelque chose.(...)

Everything is clear. There is a lamp which is in the house. There

is somebody pressed who wants to say to you something. he is

high. He comes in front of you to tell you something. (...)

arcade.Vous tes lis par cette arcade et il y a une grande lu-

mire sur vos ttes.

Ce nest pas grand chose de limaginer. Viens ct.

(...) You sit, you are connected by a rope which forms an arch.

You are bound by this arch and there is a big light on your

heads.

It is nothing to imagine it. Come here.


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Coffee carpet, installation, 2012.

Sol recouvert de poudre de caf, dimensions variables (150 cm x 300 cm).

En traversant la salle, les visiteurs sont invits marcher sur le tapis de caf

de sorte y laisser les traces de leurs pas. Un mlange dempreintes de pas

comme les motifs mouvants dun tapis qui rassemblerait des chemins de vie.

Coffee carpet, installation, 2012.

Floor covered of coffee powder, variable dimensions (150 cm x 300 cm).

By crossing the room, visitors are invited to walk on the coffee carpet in order

to leave their prints. A melt of feet prints as motion motivescarpet which ga-

ther paths of life.


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Above: Coffee carpet(details), installation, 2012.

Opposite: View of the installation Coffee carpet, 2012. Exhibition Numen,AJZ space, Yerevan, Armenia, 2012.


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Sans titre (Anoush), vido, 2012.

Vido HD, 16:9, colors, 1 min 30 secs, diffuse en boucle sur moniteur.

Pour cette vido, les prdictions de la dame ont t utilises comme scnario.

Dans les prdictions, la prsence dlments archtypaux et dun fort symbo-

lisme suggrent des connections tonnantes avec le langage du rve ou de

linconscient collectif. La teinte spia rappelle celle des dessins que lon peut

dchiffrer dans le marc de caf.

Untitled (Anoush), video, 2012.

HD video, 16:9, colors, 1 mins 30 secs, diffused in loop on monitor.

In this video, the record of my predictions have been used as a script. We can

see archetypal codes and a strong symbolism in predictions, where connec-

tions with the language of the dream or the collective unconscious can be

found. The Sepia tint reminds the color of the coffee drawings.


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Images extracted from the video.Untitled, video, 2012.

Video presented in the Exhibition Numen, AJZ space,Yerevan, Armenia, 2012.


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Recueillement, installation, 2010.

Papier, piques en bois, poudre de charbon, dimensions: 15 cm x 100 cm x120 cm.

Des supports en papier blanc semblables des tagres entre lesquels

une poudre de charbon est tombe. Le papier se courbe sous le poids de la

poudre quil tente de retenir comme des vestiges. La poudre qui na pas t

retenue par le papier forme un tas au sol. Ces matriaux prcaires invitent le

visiteur se recueillir devant ce qui a t perdu, ce qui na pas pu se faire, ce

que lon sefforce en vain de retenir.

Recueillement (Meditation), installation, 2010.

Paper, wooden pikes,charcoal powder, dimensions: 15 cm x 100 cm x 120 cm.

White sheets of paper similar to shelves between which a powder of coal felldown. The paper bends under the weight of the powder which it tries to retain

as vestiges. The powder which was not retained by the paper make a heap on

the ground. These precarious materials invite the visitor to meditate in front

of what has been lost, what was not able to be made and what we try never-

theless hard to retain.


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Above: Recueillement (Meditation), details, installation, 2010.

Opposite: View of the installation Recueillement. Exhibition Gefaltet/Gespannt, Spielraum Gallery, Berlin, 2010.


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Just before, installation, 2010.

Corde, systme daccrochage, dimensions variables: hauteur de 600 cm, dia-

mtre de 7 cm.

Une corde relie du sol au plafond se trouve efloche en son centre, sur le

point de se rompre. Un instant T juste avant la rupture. Le hasard dcidera si

le spectateur assistera ou non cette rupture. Une tension se dgage de cet

tat de prcarit, de cette fragilit qui ne peut tre quphmre.

Just before, installation, 2010.

Rope, xing system, variable dimensions: height is 600 cm, diameter is 7cm.

A rope tied from the ground to the ceiling is frayed in its center, on the point

to break. A precised moment, just before the break. The fate will decide if the

spectator will attend or not to this rupture. A tension goes out of this state ofprecariousness, of this fragility which can be only short-lived.


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Above: Just Before(detail), installation, 2010.

Opposite: View of the installationJust Before withTriptyque in background on the left. Exhibition Gefaltet/Gespannt, Spielraum Gallery, Berlin, 2010.


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Mes dessins naissent dans la solitude, dans une intimit o lexpression surgit

intuitivement. Dans cet tat dintrospection, la spontanit me permet dvo-

quer des ressentis intrieurs. Le corps, quil soit reprsent de faon gura -

tive ou suggr par des formes organiques, est omniprsent. Pouvant tre

aussi bien le tmoin, lacteur et le transmetteur dtats intrieurs, il est le sujet

central de mes dessins.

Tout en occupant une place part entire, le dessin constitue une sorte de

sous -terrain de ma pratique artistique do mergent bien souvent mes ides

de vidos et dinstallations.

My drawings arise in solitude, in an intimacy where the expression can spring

intuitively. In this state of introspection, the spontaneity allows me to evoke

what is felt inside. The body that is represented sometimes in a gurative way

or sometimes suggested by organic forms, is omnipresent. As if it could be aswell the witness, the actor and the transmitter of inner states, it is the central

subject of my drawings.

The drawing establishes a kind of underground passage of my artistic practice

where my ideas of videos and installations often come from.


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Triptyque, 3 drawings, 2010. Graphite, charcoal, red pencil, dimensions: 15 cm x 20 cm each. Exhibition Gefaltet/Gespannt, Spielraum Gallery, Berlin, 2010.


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View of 3 drawings: Sans titre (Untitled), Sans titre 2 (Untitled 2)etSans titre 3 (Untitled 3), 2006. Charcoal, dimensoins: 150 cm x 400 cm each. Ensba, Paris, 2006.


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Sans titre (Untitled), drawing, 2006. Charcoal on paper, dimensions: 150 cm x 400 cm.


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Sans titre 2 (Untitled 2), drawing, 2006. Charcoal on paper, dimensions: 150 cm x 400 cm.


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Les trois membres passionnels (Three passionate members), drawing, 2006. Charcoal on paper, dimensions: 150 cm x 350 cm.


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Monstres (Monsters), drawing, 2007. Graphite on paper, dimensions: 20 cm x 29 cm.


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Foetus, drawing, 2007. Indian ink on paper, dimensions: 20 cm x 29 cm.


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Bise (kiss), drawing, 2012. Indian ink and charcoal on paper, dimensions: 24 cm x 42 cm


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Sans titre (Untitled), drawing, 2007. Mixt technics on paper, dimensions: 21 cm x 29 cm.


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Sans titre (Untitled), drawing, 2011. Mixt technics on paper, dimensions: 20 cm x 30 cm.


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Cycle 1, drawing, 2011. Mixt technics on paper, dimensions: 42 cm x 30 cm.


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Sans Titre (Untitled), drawing, 2011. Mixt technics on paper, dimensions: 42 cm x 30 cm.


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Montagne rouge (red mountain), drawing, 2012. Mixt technics on paper, dimensions: 24 cm x 42 cm


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Colonne (Column), drawing, 2012.Indian ink on paper, dimensions: 12,5 cm x 21 cm.


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Clefs (Keys), drawing, 2012. Inks on paper, dimensions: 12,5 cm x 21 cm.


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Tranche, drawing, 2012.Graphite on paper, dimensions: 12,5 cm x 21 cm.


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Aiguille, drawing, 2012. Charcoal on paper, A3 size.


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Poumon nuage (Lung cloud), drawing, 2012. Graphite on paper, dimensions: 20 cm x 29 cm.


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Sans titre (Untitled),drawing, 2013.Graphite on paper, dimensions: 20 cm X 29 cm.


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Sans titre (Untitled), drawing, 2013. Graphite on paper, dimensions: 104 cm x 74 cm. Exhibition EX, Espaces des Arts sans frontires, Paris, 2013.


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isabelle vicherat 2013

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