Fiza Khatri is a Pakistani artist based in the United States, whose works intertwine lived experience and cultural history with great intricacy. In their oeuvre, lush nature, wildlife and humans cohabit, the latter often represented in moments of intimacy or contemplation.

Depicting emotionally imbued everyday objects and situations, their paintings offer their subjects visibility within a benevolent universe. The pictorial space encompasses a terrain of social ecology that emphasizes the links between the intimate and the political, celebrating the vibrant interweaving of living things.

Drawing inspiration from the romantic style of precious Rājput miniatures, Khatri eliminates perspective, lending greater importance to the continuity between background and foreground. In their painting, Khatri often combines the use of an airbrush—to obtain a blurred effect that evokes optical distortion—and oil paint, which allows extreme precision alongside the impression of a sketch that has been captured with rapid brushstrokes.

Fiza Khatri was born in Karachi (Pakistan) in 1992 and currently lives in New Haven, Connecticut (USA). In 2023, they graduated from the Yale School of Art with an MFA in Painting and Printmaking. Khatri’s works have been exhibited in Asia, North America and in the UK by galleries such as Jhaveri Contemporary, Perrotin, Grimm and Micki Meng and they will be taking part in the forthcoming Lahore Biennale. While living in Pakistan, Khatri was engaged with curating and organising in relation to feminist and queer communities.  

By means of her impeccably smooth execution, Amélie Bertrand (born in 1985) is able to distance herself from ideal landscapes inspired by nature, and shape decors that fall somewhere between dreams and nightmares. The planes and surfaces of her works are assembled in a complex and meticulous manner, branching out into skewed perspectives and shallow horizons. All kinds of materials and motifs typical of our era saturate her compositions: OSB, laminates, wire mesh, tiles, fleecing, chains, foliage, camouflage etc. Colors are applied in gradients, yet always as a single layer, as if trapped on the surface of an impenetrable screen. Amélie Bertrand creates an atmosphere of déjà-vu, a contemporary ambience that is both psychological and physical within the confined space of the painting. As the missing link between Giotto and West Coast art, Amélie Bertrand combines the great traditions with synthetic psychedelia, transforming contemporary visual culture into carefully controlled constructs of flat tints.

In 2024, a monographic exhibition of Amélie Bertrand took place at the Musée de l’Orangerie in Paris. She has recently enjoyed solo and group exhibitions at the Centre d’art contemporain de la Matmut-Daniel Havis, Saint-Pierre-de-Varengeville (FR), the Maison des arts, Malakoff (FR), the Centre d’art contemporain de Meymac (FR), the Kunstwerk Carlshütte, Büdelsdorf (DE), the Ecole Municipale des Beaux-Arts, Châteauroux and the Musée des Beaux-Arts de Dole (FR). Her oeuvres are included in public and private collections such as the Thyssen-Bornemisza Art Contemporary, the MAC VAL, Vitry-sur-Seine (FR), the CNAP, Paris (FR), the FRAC Limousin, Limoges (FR), Les Abattoirs Musée – Frac Occitanie Toulouse (FR) and the Musée de l’Abbaye Sainte Croix, Les Sables-d’Olonne (FR).

Szabolcs Bozó’s œuvre is principally focused on drawing and painting. His bold iconography displays a regressive and joyfully childlike aspect, whose subversive undercurrent emerges from beneath its apparent innocence. In a short space of time, Bozó has developed an immediately recognizable style with his brightly colored zoomorphic creatures, bursting with energy and humor.

Painted in large format, his characters nevertheless appear to be constricted within their frames, as if inflated by an excess of tenderness. More recently, his style has evolved with the introduction of more complex compositions that combine unrestrained choreography with scenic elements and props. Taken as a whole, his oeuvre unfolds as a gallery of endearing creatures whose expressiveness is strikingly human–and at times, all too human.

Bozó’s unique work deliberately flirts with marginality and follows in the wake of the CoBrA movement (Alechinsky, Appel, Jorn) in terms of his figures, or of Franz West in its spirit. Certain similarities with Art Brut or contemporary bad painting (Joe Bradley, Spencer Sweeney, etc.) can also be detected in the register and style of his work.

Szabolcs Bozó (b. 1992 in Hungary) lives and works in London. In recent years, he has enjoyed regular exhibitions in his native Hungary, most notably at the Ludwig Museum in Budapest, as well as in China at the M Woods Museum in Beijing and the Sifang Art Museum in Shanghai for example. He has undertaken various residencies, namely at the L21 x Camper Foundation in Palma, Spain in 2018 and in Los Angeles in 2020. His first exhibition in France took place in 2020 at Semiose.

With a background in printing, Hugo Capron's painting is based on the pleasure of reproducing the same image in long series that seek to exhaust all the possibilities of variation. His paintings are generally produced in one go and without repentance, but are nevertheless based on precise technical equations. Long interested in the correspondences between a volume of paint and a surface of canvas to be covered, his return from the Kujoyama Villa in 2019 led to a breaking point. His works began to represent subjects that were often classical and anonymous, borrowed from the history of etching or the history of painting.

Hugo Capron’s palettes are the result of fine investigations among suppliers from all over the world in search of the most accurate shades. On the canvas, they reveal themselves in a whole range of materials, juices and luminous extra thickness which emphasise the speed of execution. The gesture is almost calligraphic, it is a mixture of commas and loops.

Hugo Capron (b. 1989) lives and works in Dijon (FR). He graduated from the Ecole Nationale Supérieure d'Art et de Design, Dijon (FR). In 2021, he is the winner of the 8th edition of the Emerige Revelation Grant. His work has been exhibited in numerous individual and collective shows at the Hôtel des Arts, Toulon (FR), the Centre Régional d’Art Contemporain de Montbéliard (FR), the Collection Yvon Lambert, Avignon (FR), the Frac Bourgogne, Dijon (FR) and at Consortium, Dijon (FR). His work features in a large number of French and international, public and private collections. 

The interior scenes painted by Mathieu Cherkit are disarmingly familiar, exploring domestic life in all its trivial familiarity. Even in his self-portraits and his street, garden and plant paintings, we are struck by a strange sense of déjà vu. Yet, despite his rendering of the smallest details down to the anecdotal, his painting seems suddenly to shift into a more historical and metaphysical dimension: historical, when he cites his predecessors in the field of painting, in particular those who produced abstract works, even though his own are viscerally figurative; metaphysical, through its temporal and spatial kaleidoscope, disrupting perspective and intersecting planes in the manner of the Cubists. It is from this painting, with its subjects captured directly in thick impasto, that the Mathieu Cherkit’s tender and constantly amazed gaze on his daily life ultimately emerges.

Born in Paris in 1982 and currently living in Vallery (Yonne department in central France), Mathieu Cherkit graduated from the Nantes School of Fine Arts and the Hochshule für Grafik und Buchkunst in Leipzig, and has become a major figure of the emerging generation of French figurative painters. He was a finalist for the Jean-François Prat Prize (2013), the Science-Po Prize for Contemporary Art (2013) and the Antoine Marin Prize (2011). His works are included in numerous public collections—the Centre National des Arts Plastiques, the Museum of Modern Art in Paris, the MO.CO., the Musée Estrine in Saint-Rémy de Provence and the Musée des Avelines in Saint-Cloud. They also feature in private collections such as the Salomon Foundation and the Colas Foundation in France, as well as the Caldic Collection / Voorlinden Museum and the AkzoNobel Art Foundation in the Netherlands.

Born in 1994, Oli Epp is part of the generation which grew up surrounded by digital technology. While his painting is the product of our experience of an increasingly digitized world, his caustic humor embodies the other side of the coin, encouraging us to distance ourselves from our unhealthy, modern foibles. His simplified human silhouettes, reduced to their bare essentials, form a parody of our real, everyday world and with his keen sense of tragi-comedy, he reveals the farcicality of certain of our collective rituals and behavior.

Oli Epp’s paintings are very smooth in nature, including polished flat tints alongside more blurred zones created with the use of an airbrush. His use of light radiates in a surreal impression of a backlit screen. The graphic simplicity and the seemingly apparent ease the viewer experiences in interpreting his paintings in fact mask a social satire of rare depth.

Oli Epp graduated from the City & Guilds of London Art School in 2017 and is currently based in London. He has been awarded numerous prizes and has enjoyed a variety of residencies. In 2018, Semiose Gallery organized his first solo exhibition in a gallery, followed by several others in 2020, 2022, and 2025. In 2025, the NTNU Art Museum in Taipei dedicated a solo show to his work accompanied by a catalog. He has also curated several exhibitions, at the Perrotin Gallery in Paris and the Arsenal Contemporary in Montreal. He has participated in many group exhibitions including Cat People at the Noisy-le-Sec Gallery (2025) and Art Without Borders at the Royal Academy of Arts (2023). His works feature in numerous private and public collections including the Blanca and Borja Thyssen-Bornemisza Collection in Madrid, the Musée d’Art Moderne in Paris and the Montreal Museum of Fine Arts.

Laurent Le Deunff’s sculptures often mislead the eye due to the disparity between the materials used and the objects represented. He has a pronounced taste for traditional techniques from the world of arts and crafts as well as decorative artifices. The modesty of papier-mâché and fingernail clippings rubs shoulders with the nobility of bronze and deer antlers, and the rarity of fossilized dinosaur droppings sits side-by-side with the ordinariness of fake wood made from cement. Le Deunff’s meticulousness and acute sense of observation have also been deployed in his series of drawings—copulating animals, the footprints of imaginary monsters or artist’s cats—through which he explores animality, in a narrative that leaves plenty of space for the imagination. His bestiary brings together a wide variety of creatures—dolphins, slugs, seahorses or bears—without any hint of hierarchy of species. Humans are not excluded from the narrative, which reactivates a kind of archetypal primitivism: a prehistoric phallus and various totems and talismans transport civilization back to its most splendid origins.

His works have been the subject of exhibitions at Biennale Gherdëina, Val Gardena, Dolomites (IT), at Portique, Le Havre (FR), at MASC, Sables d’Olonne (FR), at MRAC Occitanie, Sérignan (FR), at La Halle des Bouchers, Vienne (FR), at Carré Scène nationale, Château-Gontier (FR), at Artspace Boan, Séoul (KR), at Museum Beelden aan Zee, La Haye (NL), at PAV Parco Arte Vivente, Turin (IT), at LAMAG, Municipal Art Gallery, Los Angeles (US), at MOCO, Montpellier (FR), at Musée d’Art Moderne Paris (FR) and at numerous FRAC. Laurent Le Deunff’s work is held in the collections of the Musée d’Art Moderne, Paris (FR), MRAC Occitanie, Sérignan (FR), CAPC, Bordeaux (FR), and in the collections of the FRAC of Paris, Bordeaux, Limoges and Caen (FR).

Since the 1990s, Françoise Pétrovitch has produced one of the most powerful bodies of work on the French art scene. Amongst the numerous media she has explored—ceramics, glass, ink washes, painting, print and video—drawing retains pride of place. In constant dialog with the artists who have preceded her, she has been able to measure herself against the incontrovertible motifs of “high art”­­—Saint Sebastian, still lifes, etc. Pétrovitch’s art reveals an ambiguous world, willingly transgressive, playing with conventional boundaries and eluding any interpretation. Intimacy, fragments of life and disappearance, alongside the themes such as the double, transition and cruelty run through her work, which is inhabited by animals, flowers and beings, and whose atmosphere fluctuates between light and dark, rarely leaving the spectator unmoved.

She has enjoyed numerous solo exhibitions both in France and abroad, as in the Fonds Hélène et Édouard Leclerc in Landerneau and the Bibliothèque nationale de France, Paris, in 2022, and the Musée de la Vie romantique, Paris, in 2023. In 2018, she was the first contemporary artist to be awarded a solo exhibition at the Louvre-Lens. Over the past few years, Pétrovitch has produced monumental wall drawings and large format ensembles, for the Galerie des Enfants at the Centre Pompidou, the West Bund Museum, Shanghai, or for the Ballets du Nord Company. Her works are included in many private and public collections, most notably the Centre Pompidou, Paris (FR), the Voorlinden Museum, Wassenaar (NL), the National Museum of Women in the Arts, Washington D.C. (US), the Musée Jenisch, Vevey (CH), the Musée d’Art Moderne et Contemporain of Saint-Etienne (FR) and of Strasbourg (FR), the MAC VAL (FR), the Salomon and Guerlain Foundations as well as Emerige Endowment Fund.

Born in Versailles in 1980, Laurent Proux lives and works in Paris. In his painting and drawing, Laurent Proux produces powerful and original imagery that seeks through his formal choices to resolve the questions raised by his subjects. Described by some as a realist due to the subjects he depicts—industrial machinery, workstations, sexualized bodies, etc.­—his style finds its emancipation through his never-ending exploration of pictorial solutions, the integration of aberrations, bringing planes into collision, the use of artificial colors, all freeing his oeuvre from the opposition between figuration and abstraction. He approaches the human form through fragments, exaggeration and the use of silhouettes to create a kind of body-cum-machine, politicized and under assault, often disturbing and occasionally sentimental. His canvases take the form of a stage, in an altered perspective and the artist addresses the spectator with a visual and intellectual enigma running through the image.

Laurent Proux’s first institutionnal solo exhibition took place at the Musée de l’Abbaye in Saint-Claude (FR) in 2025. His oeuvres are included in the collections of the National Center for Visual Arts (CNAP), the Occitan, Limousin and Nouvelle-Aquitaine regional contemporary art collections (FRAC) and the Paris Municipal Collection (FMAC). His work has been exhibited at the Mana Contemporary in Chicago (US), the Shanghai Art Museum (CN), the Moscow Center for Contemporary Art (RU), the Musée d’Art Contemporain in Lyon (FR), the Limousin FRAC in Limoges (FR), at the Lieu Commun in Toulouse (FR) and at the Musée d'Art moderne et contemporain de l'Abbaye Sainte-Croix aux Sables-d'Olonne (FR). Laurent Proux was a resident of the Casa de Velázquez in Madrid (ES).

Stefan Rinck’s stone figures form a motley and comical community of, for the most part, animals, chimeras and monsters. They wear costumes and masks; are endowed with particular symbols or characteristics, some bear the names of heroes of Greek mythology or of legend. Rinck’s sculpted figures make up a discordant but related assembly of non-humans: they come from elsewhere, an archaic imaginary world, woven from myths and legends. With his collection of fauna, the artist is using a technique typical of the Middle Ages: sculpting his figures directly from stone.

Rinck’s sculptures remind us of the figures of Roman art, which populate the columns and tympana of churches. These are grotesque figures, in which we recognize the vitalist comedy typical of medieval realism which could be observed during the parades of jesters and buffoons at religious and popular festivities. Yet if the Middle Ages seem to color Rinck’s art, its frame of reference in fact crystalizes around a number of “Gothic” obsessions of the Romantic kind: a taste for mythology and folk tales, for different epochs and cultures for the fantastic or figures of hubris and excess.

Stefan Rinck has had numerous solo exhibitions, most recently at the Pinakothek der Moderne in Munich and the Domaine de Chamarande (2025), as well as group exhibitions at the Musée d’Art Moderne in Paris and the MAC Marseille (2024). He has also exhibited at international fairs and biennials, including Art Basel Paris, the Artzuid Sculpture Biennial in Amsterdam (2025) and FIAC Hors les murs at the Tuileries (2019). One of his sculptures is on permanent display in Paris since 2018 (Beaupassage). In 2019, he was selected among 100 Sculptors of Tomorrow, published by Thames & Hudson.

Moffat Takadiwa creates large format sculptures from materials found on garbage dumps, notably computer parts, plastic bottle-caps, toothbrushes and toothpaste tubes. After gathering great quantities of these objects and sorting them by color and shape, the artist weaves these discarded scraps into rich wall hangings. Once suspended, these post-industrial fabrics, through their intricate beauty, acquire an aura of ritual or totemic artifacts.

Born in 1983, Moffat Takadiwa lives and works on the outskirts of Harare in Mbare, one of the largest recycling centers in the country and an important hub for the informal economy. Belonging to the post-independence generation, his work reflects his preoccupation with issues such as consumerism, inequality, post-colonialism and the environment. Since the earliest days of his artistic career, he has used his practice as a platform for the rehabilitation of his community, working with young local artists and designers, with a view to founding the world first artistic center based on the use of reclaimed materials.

The National Gallery of Zimbabwe, Harare, staged a major solo exhibition of Moffat Takadiwa in 2023. In 2024, he had his first solo exhibition in a French institution at the Galerie Édouard Manet, Gennevilliers, and represents Zimbabwe at the 60^th Biennale di Venezia alongside five other artists. He exhibited his works in major institutions abroad as well, most notably at the Craft Contemporary (US), during the exhibition organized by Jeffrey Deitch and Gagosian at the Moore Building in Miami (US), at the ARoS Kunstmuseumat, Aarhus (DK), the MACAAL, Marrakesh (MA) and the Arnhem Museum (NL).

The African-American artist Philemona Williamson (b. 1951) brings together personal and more universal narratives in her brightly colored, large format paintings that portray children and teenagers, often in mysterious situations. She paints directly onto her canvases without preliminary sketches and her paintings thus resemble palimpsests telling their own stories, with multiple layers, figures and scenes appearing across the support, before seemingly being abandoned. Williamson’s works are deeply rooted in her childhood memories and include references to memorabilia, such as dolls typical of American popular culture from the artist’s personal collection, and as such are an invitation to explore mysterious and unfinished tales.

Williamson has been exhibited in numerous American institutions, from her debut solo show at the Queens Museum of Art in 1988, to Metaphorical Narratives, at the Montclair Art Museum, New Jersey, in 2017, which spanned the thirty years of her artistic career. Her works can be seen in many public collections across the USA and she has been commissioned for several public projects, most notably by the New York Metropolitan Transport Authority. In 2022, she was one of fifteen recipients of the Anonymous Was A Woman prize, awarded annually since 1986 to women artists over the age of 40, in recognition of their previous and future work.

Par conviction, Xie Lei a choisi la peinture parce qu’elle lui ouvre la voie d’un langage traduisant son univers sensible et un terrain d’expérimentation pour creuser la spécificité de ce médium dans la contemporanéité. Sa pratique part du réel mais s’en échappe pour explorer des mondes équivoques, incertains, que son imaginaire transforme. La plupart de ses tableaux renvoient à des situations troubles ou inquiétantes, discrètement rattachées à des souvenirs littéraires et cinématographiques, ou bien puisées au creuset profond des sentiments. Il s’attache à la complexité des évènements, des situations et surtout à leurs ambiguïtés, leurs tensions. Sa peinture récente intrigue par un entre-deux, celui du sommeil et la mort. Les couleurs sont sombres, mais mutent pour devenir lumineuses, puissantes. La peinture telle que la pratique Xie Lei se singularise en délivrant une autre perception du temps : salutairement, elle propose de ralentir le regard et d’échapper aux ivresses de l’accélération et de l’immédiateté.

Xie Lei (né en 1983 en Chine) vit et travaille à Paris depuis 2006, et est diplômé de la CAFA de Pékin et de l’ENSBA de Paris. Il est le lauréat du Prix Marcel Duchamp 2025. Ses œuvres ont été exposées dans de nombreuses institutions : Fondation Louis Vuitton, Paris (FR); MO.CO, Montpellier (FR); CAPC, Bordeaux (FR); Villa Noailles, Hyères (FR); Collection Lambert, Avignon (FR); MAC VAL, Vitry-sur-Seine (FR); Langen Foundation, Neuss (DE); Musée national de l’histoire de l’immigration, Paris (FR); Fondation d’entreprise Ricard, Paris (FR). Ses œuvres figurent dans des collections publiques et privées, telles que Thyssen-Bornemisza Art Contemporary, MAC VAL, Albertina Museum et X Museum. Xie Lei a été pensionnaire de la Casa de Velázquez à Madrid (2020-2021), et résident de la Villa Médicis à Rome (2024).