PARÉIDOLIE 2026

With Pierre Buraglio, we present a selection of original drawings attesting to a practice oriented toward the reinterpretation of the great masterpieces of the past and of classical and religious iconography. Although the artist describes himself as thoroughly materialist, his work continually revisits Grünewald, Caravaggio, Philippe de Champaigne, Zurbarán, and even Braque’s birds, transformed under his hand into symbols of modernity. While Pierre Buraglio is renowned for his deconstruction of the functions of painting in the 1970s, he remains an artist whose work belongs to a centuries-old tradition of questioning the pictorial image and its role in our culture as a medium of understanding. Through a series of drawings and monotypes characterized by pared-down lines, he synthesizes diverse symbolic elements into images that operate simultaneously on several levels. Most of these drawings, some of them taken from his preparatory notebooks, are being presented at Paréidolie for the first time.

We are also pleased to unveil a sequence of original drawings in ink, watercolor, and pencil by Philippe Cognée. Centered on the notion of vanitas, these small works depicting skulls should not be seen merely as variations on death, but rather as reflections on the representation of the human condition as a contemporary image. Here, the motif takes on multiple forms, ranging from the figurative to the abstract.

In a different vein, we present the latest collages by the master of neo-manga, Yûichi Yokoyama. Considered a legend in his native Japan, Yokoyama is known for graphic novels whose drawing style and narrative structure escape all the conventions of the genre. Conceived as meditations on the future of Japanese society, these narratives also gave rise to a number of collages that the artist kept in his studio. Offered for sale in France for the first time, these collages enable him to compose narratives by presenting several temporalities simultaneously. The colorful material of these works comes directly from sketches and drawings that he spectacularly rearranges and recomposes.

The Chevalme sisters, for their part, continue their investigations into the ideologies that shape cultures. Drawing on a meticulous exploration of photographic archives related to the colonization of West Africa at the turn of the twentieth century, they have isolated a number of scenes from everyday life. Although devoid of explicit violence, these images nonetheless bear witness to the subjugation of one population for the benefit of another. This corpus of photographs is then carefully redrawn in ink, juxtaposing several scenes on a single sheet. This visual collage would be incomplete without the irruption of the present, embodied in the form of additions made with gold-colored felt-tip pen.

For the first time, we are also exhibiting a selection of drawings by Marseille-based artist Ludivine Venet. Created on sheets of stone paper, her drawings open onto landscapes of remarkable sensitivity, where the imprint becomes both a trace of life and a stratum in which inert matter suddenly takes the form of an infinite movement that questions time itself. For the occasion, Ludivine Venet will present her latest works, at once a projection onto and a reflection upon the territory that surrounds her.

Finally, we present the latest drawings by Clément Bagot who, through a renewed palette of colors, effortlessly plays with simultaneous scales. The macroscopic and the microscopic compete for prominence, while abstraction and figuration engage in dialogue. More than in his previous works, this new series introduces the possibility for every image to be double, to exist at the confluence of different truths which, far from opposing one another, merge within a single momentum.