When he discovered engraving, Bernard Mamie had found the technique which most closely matches free movement. He plays with supports and tools such as dry-point engraving, linocuts, collage, monotype, Plexiglas and painting highlights to reconstruct a balanced and dreamlike space. These miniature worlds are built from alternating wavy, reticular or fragmented elements and fibres which are sometimes trapped in them and which seem to float above a viscous infinity. The gaze is lost there and lets itself be penetrated by dream, gently rocked by subtle extrusions of monochrome inks and the emerging beauty of the materials. The most recent series is close to a labyrinth with drawings in solid interleaved blacks which play on the power relations between empty and full, creating complex surfaces underlined by motifs painted in red.
Rodolfo Gallego embraces the material he uses. Fantastic pipes of equally extraordinary machines writhe on varnished translucent paper. In order to heighten the transparency and opacity of work on paper, he has chosen lead, aluminium sheets and glass. The density of the first, enhanced by its mysterious almost matt reflections, suggests shapes resembling an obus or brick which multiply by dematerialising through mirrors when he uses glass. The ubiquitous presence of aluminium foil in our lives suggests large-format works to the artist, in which this everyday material becomes precious and gemlike.

Mounted against a wall or placed in groups on the floor, the sculptures look like spines or felled trees and send out a feeling of menace. The use of metal led Rodolfo Gallego back to the origins of drawing, in charcoal. Lines drawn on the metal sheets become volumes, thereby closing the coherent circle of this series of work.
The disciplined, meticulous, obsessively persistent work of Pierre Ferrarini, reads like a diary written on identical white cards. First in pencil then in black ink, this organized swarm like a web and also writing, creates a time series which unfolds on the wall in 777 rectangles. The drawings were made between 2004 and 2013 and then scanned to produce a group of large panels several metres in length. There are tiny differences on them which produce a silent vibrating musicality, the intermittent moments when life and creation are intimately linked.
Opposite this composition the bricks of another wall are made up of 432 images of the drawing pad he used for the 2008 to 2013 drawings, scanned daily. The gradual darkening of the pieces of cardboard, documented in a similar way to Roman Opaka’s self-portraits, interprets the passage of time through the instant decomposition and inescapable destruction of all material objects, rather than through the creative occupation of space.