Through painting, Elka Leonard makes the observer reflect on self-knowledge, and the notion of freedom of the Man in the 21st century. In her quest for freedom, the female figure paves the way for us, just like Eve who makes the first gesture of freedom by biting the apple and who curiously goes towards knowledge. The woman emerges as a symbol, a representation of power, unaware of the pleasure she arouses, she imposes herself on us with superb arrogance.

Her work is situated at the jonction of surrealism and free figuration. The timeplanes are intertwined: on one side there is the current representation of a provocative personality, on the other a retrospective look at the past, at the experience acquired. The painting then becomes psychological, and questions the notion of intimacy, memory and oblivion. Elka Leonard seeks to abolish the boundaries between reality and dream, to make it her absolute priority and to reach her inner image.

Her work focuses our gaze on introspection as well as our imagination, in order to better apprehend our future. It is becoming urgent to rediscover our free will and our pleasure, in the broadest sense of the word, because it gives us self-confidence and the desire to move forward, the joy of being.

Elka Leonard says she is « a thief of emotion » because she likes to light people's imagination, to guide their chimera, to open their thoughts. Her work is based on «freezed frames». To know how to observe attentively is to suspend the movement of agitation of thought, to remain in the openness that the senses offer us and to let discovery enter into perception. With a lot of detail, she astonish, and let the perception its true power, which is to reveal a rich and complex presence.

She let us observe her reality : everyone is involved in a game of solicitations and answers affirming who he wants to be. Her latest works shows this allegory of identity: Who am I really? Works to go beyond appearances.

Bruno FABBRIS is a French photographer and artist. After studying drawing and painting in art studios in Paris, he turned to black and white silver photography, which he prints himself. His artistic approach is written in his own shades of black, grey and brown, practically monochrome.

In collaboration with a stylist from the Haute Couture fashion shows, Nathalie RUTILI, he creates series using diverted materials that cover and dress silhouettes with often ethnic personalities. This origami dance is as fascinating as his paper girls, his muses with their veiled, unveiled bodies, his graphic vegetal and flowery forms in a vaporous, almost celestial atmosphere. Through the works, our imagination is carried from Asia to Africa, all wrapped in a light fog through which the light passes.

He also works with his favourite material: the skin, the lines and shapes that form the body when it becomes almost abstract. The beauty of black skins and their incredible ability to capture the light, this natural shine in opposition to the matt aspect of white skins, or together in a contrasting complimentarity.

Fascinated by light, by the emotion of the captured moment that our retina or memory struggles to capture and print, he is fascinated by the unpredictability of the image. This is what gives a photograph its strength and «raison d’être», a fleeting moment that will in no way be repeated.

Bruno FABBRIS is a French photographer and artist. After studying drawing and painting in art studios in Paris, he turned to black and white silver photography, which he prints himself. His artistic approach is written in his own shades of black, grey and brown, practically monochrome.

In collaboration with a stylist from the Haute Couture fashion shows, Nathalie RUTILI, he creates series using diverted materials that cover and dress silhouettes with often ethnic personalities. This origami dance is as fascinating as his paper girls, his muses with their veiled, unveiled bodies, his graphic vegetal and flowery forms in a vaporous, almost celestial atmosphere. Through the works, our imagination is carried from Asia to Africa, all wrapped in a light fog through which the light passes.

He also works with his favourite material: the skin, the lines and shapes that form the body when it becomes almost abstract. The beauty of black skins and their incredible ability to capture the light, this natural shine in opposition to the matt aspect of white skins, or together in a contrasting complimentarity.

Fascinated by light, by the emotion of the captured moment that our retina or memory struggles to capture and print, he is fascinated by the unpredictability of the image. This is what gives a photograph its strength and «raison d’être», a fleeting moment that will in no way be repeated.

After studying graphic design, Cépé turned to illustration (Kitsuné Musique, Vanity Fair, Bon appétit, Spotify, the Musée Fabre) and painting. In his works, he likes to deconstruct space, bodies and faces to imagine a distorted and naive world, at the border of reality and fiction… Scenes of daily life and the nude remain his favorite subjects.

His work is influenced by the graphic influences of cubism and expressionism. His style was also built with more modern and very diverse inspirations, such as photography.

He likes to sublimate the imperfections of his characters who occupy a central place in his compositions. They always look the viewer in the eyes, and never bow their heads. Sometimes you may feel like you’re disturbing them, they seem to pause to look into yours. As if we were penetrating their intimacy. This relationship between the viewer and painting is a major issue in his work. The bold and vibrant colors, the spontaneity of the gesture, the work on the motifs give a festive energy. The relationship of looks also brings us back to the notion of disturbing strangeness*, to the encounter with the other. It is this ambivalence that he inexorably reproduces in each of his canvases.

*The disturbing strangeness is the French translation of the Freudian concept "Das Unheimlich", which expresses the strangeness of the stranger familiar.

After studying graphic design, Cépé turned to illustration (Kitsuné Musique, Vanity Fair, Bon appétit, Spotify, the Musée Fabre) and painting. In his works, he likes to deconstruct space, bodies and faces to imagine a distorted and naive world, at the border of reality and fiction… Scenes of daily life and the nude remain his favorite subjects.

His work is influenced by the graphic influences of cubism and expressionism. His style was also built with more modern and very diverse inspirations, such as photography.

He likes to sublimate the imperfections of his characters who occupy a central place in his compositions. They always look the viewer in the eyes, and never bow their heads. Sometimes you may feel like you’re disturbing them, they seem to pause to look into yours. As if we were penetrating their intimacy. This relationship between the viewer and painting is a major issue in his work. The bold and vibrant colors, the spontaneity of the gesture, the work on the motifs give a festive energy. The relationship of looks also brings us back to the notion of disturbing strangeness*, to the encounter with the other. It is this ambivalence that he inexorably reproduces in each of his canvases.

*The disturbing strangeness is the French translation of the Freudian concept "Das Unheimlich", which expresses the strangeness of the stranger familiar.

Lola Frydman is a French artist, born in 1995. She is currently studying at the Gerrit Rietveld Academie in Amsterdam where she explores the different mediums.

Through her work, she likes to tell stories. Words are replaced by suns or tears, depending on the moment, and the emotions that dictate them. In her drawings the composition is queen, she likes intertwining drawing, painting, collage, each layer is a new medium that modifies the historical plot. The common thread resides in his characters, with marked features, assumed profiles, strong characters that emerge from each of them.

Lola Frydman is a French artist, born in 1995. She is currently studying at the Gerrit Rietveld Academie in Amsterdam where she explores the different mediums.

Through her work, she likes to tell stories. Words are replaced by suns or tears, depending on the moment, and the emotions that dictate them. In her drawings the composition is queen, she likes intertwining drawing, painting, collage, each layer is a new medium that modifies the historical plot. The common thread resides in his characters, with marked features, assumed profiles, strong characters that emerge from each of them.

Mikael Vojinovic with his large white frame glasses, his thick beard, his handlebar moustache and his Einstein-like tousled dark hair, legacy of his Serbo-French origins is a provocative and blunt artist who takes you on an electrifying journey.

When he was ten, photography came as self-evident when he met his first girlfriend. He decided to take a picture of her and magic happened. He revealed something indescribable, innocent and intriguing – a look, a posture, an aura – that would be kept for ever with the photograph.

His photographic work is intended to be directly connected to women for whom he claims an unconditional love. He wants to show women’s strength and contradictions as accurately as possible.

Mikael Vojinovic describes his work as “raw” to clarify his blunt and rough approach and straight connection to reality and women’s beauty. He sometimes pushes them to their limits in order to get their truest and deepest self.

He uses little to no artificial light and prefers to use the strong character of his models – sensual and self-assured women. Mikael Vojinovic takes inspiration from the surrounding environment he always spontaneously selects; he is a born image maker and tells sexy-rock stories with light.

Mikael Vojinovic with his large white frame glasses, his thick beard, his handlebar moustache and his Einstein-like tousled dark hair, legacy of his Serbo-French origins is a provocative and blunt artist who takes you on an electrifying journey.

When he was ten, photography came as self-evident when he met his first girlfriend. He decided to take a picture of her and magic happened. He revealed something indescribable, innocent and intriguing – a look, a posture, an aura – that would be kept for ever with the photograph.

His photographic work is intended to be directly connected to women for whom he claims an unconditional love. He wants to show women’s strength and contradictions as accurately as possible.

Mikael Vojinovic describes his work as “raw” to clarify his blunt and rough approach and straight connection to reality and women’s beauty. He sometimes pushes them to their limits in order to get their truest and deepest self.

He uses little to no artificial light and prefers to use the strong character of his models – sensual and self-assured women. Mikael Vojinovic takes inspiration from the surrounding environment he always spontaneously selects; he is a born image maker and tells sexy-rock stories with light.

William Let is a French photographer and artist, born in the middle of the volcanoes in Auvergne. He has always been lulled by legends, energies, spirits and surrounded by healers of all kinds.

In 2009, during a trip to Brazil for a humanitarian project, William Let got the idea for his photo series Pacham. During his stay, he listened to the legends and saw the eyes of a people who live in harmony with the earth, our mother, the Pachamama.

Inspired by the philosophies of tribes, indigenous people, thoughts of yesterday and today, symbols created thousands of years ago or more recently, his research has been based on the common point of wanting good, bringing inner peace and living in harmony on earth with ourself and others.

Filled with this approach and the desire to feel the strength of the art of body painting, he began to take photos of models he knew well, friends who had overcome life’s trials and tribulations, keeping a smile bigger than all the hardships they had gone through.

And it is in this universe that William Let takes us on a journey. A world of spirituality and respect. A world of vibration and harmony. A world of sensations and emotions. A world where it is all about love.

William Let is a French photographer and artist, born in the middle of the volcanoes in Auvergne. He has always been lulled by legends, energies, spirits and surrounded by healers of all kinds.

In 2009, during a trip to Brazil for a humanitarian project, William Let got the idea for his photo series Pacham. During his stay, he listened to the legends and saw the eyes of a people who live in harmony with the earth, our mother, the Pachamama.

Inspired by the philosophies of tribes, indigenous people, thoughts of yesterday and today, symbols created thousands of years ago or more recently, his research has been based on the common point of wanting good, bringing inner peace and living in harmony on earth with ourself and others.

Filled with this approach and the desire to feel the strength of the art of body painting, he began to take photos of models he knew well, friends who had overcome life’s trials and tribulations, keeping a smile bigger than all the hardships they had gone through.

And it is in this universe that William Let takes us on a journey. A world of spirituality and respect. A world of vibration and harmony. A world of sensations and emotions. A world where it is all about love.