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Paris - France

Walking the Path

Paris From 6 September to 6 October 2017

Walking the path

Walking the path, is simply the continuation of creative projects that the eight artists present at the exhibition tell, each one in their own way, in complete liberty, using different media. Physical or geometric bodies hide, emanate, interrogate. Nature is the essential inspirational source, which they draw their strength and power from for an endless journey.


The enchanted forest

"... traveling alone means the absolute freedom to broaden your perceptions and allow you to make contact with all possible real or imaginary forms in nature. I "penetrated" into a forest of Fire Earth, attracted by a complex portal in twisted, twisted and vibrating trees, and I knew the absence of time and I stayed for hours.
Forms, reflections, real and visionary presentations enchanted me at the same time. I found in the series The Enchanted Forest the emotions that materialized in the images.

In this plan of reality, everything is possible... Simply open and listen to the access to your dreams "


Lingo: ˈlɪŋɡəʊ/
1. a foreign language or local dialect. ("it doesn't matter if you can't speak the lingo")
2. the vocabulary or jargon of a particular subject or group of people. ("computer lingo")

"The choice of the name LINGO for these 7 pieces (the 2 paintings and 5 sculptures) is meant to be a simple and immediate message: in the study of my artistic language, I want to leave less space for the words so that the eyes of those who watch follow a barer, more real, more personal reading. "

The sculptures are covered in their entirety with latex almost forming a soft and durable shield before presenting themselves to the world. Some parts of them (polymeric latex creations) are soft, painted with brush and spray and covered in resin, create small cracks almost making their structure naked, thus telling about how language is sometimes marked by time.

The sculptures covering itself (plastic painting on latex) is not uniform: in some parts it is shiny from the resins, in other parts it is possible to see latex drops that didn't get the color and reveal their brilliant yellow.This means that very often the language we use, although in some cases very structured, always lets a glimpse on who we are.


Emanuele Ravagnani uses a mix of techniques, ranging from painting to material assembly and collage, from oil-based paints to natural pigments, objects recovering, B/W photographs that he develops on his own in a darkroom, to redefine the space-time dimension by relocating the objects themselves. His elective territory veers on graphics, with the production of big and medium size works on canvas, with lines defining utopian architectures hidden by a haze of color.

The creative tension of his shapes, sometimes recognizable, sometimes not, seemingly carved in the high density of color meant as matter, splays in a chaotic and cryptic connection with language and numerology, inciting the eye to seek for mysterious relations between signs, figures and space.


In the work CUBO DI GABO - M³.N, Gabriele Dal Dosso approaches and matches two natural materials such as wood and volcanic stone with glass (neon) to concretize a new chapter of the CUBO DI GABO series, making this time an illusion out of it, got from the origin of his reflection, taking the cue from the Möbius band stucture, thus setting in a double image, drawing and neon, the 2D reproduction of one of his philosophical objects.


Artist, largely self-taught, she began her pictorial study in an attempt to transform and translate unconscious impulses into shapes. A direct and instinctive language getting to the canvas unfiltered. Ilaria Bochicchio's bodies are closed in claustrophobic compositions. Each room is the place where these pieces of indolent flesh live, represented in their intimate abandonment. There is no anatomical description, but there's the pulse of limbs and muscles distorted and torn.

Her painting seeks a condition that reminds the sensation of human existence. The infinite layers of colour are imprisoned by the final white veil, which, like a worn out skin membrane, lets you see the inside.

The bodies become a white chromatic mass soaked in color. The final draft is reached by brush and spatula strokes aimed at creating a sculptural physicality and a disintegration evoking anthropomorphic figures. The strength and intensity of colour interact with light and create volumes that alternate in solid masses and liquid zones. The figures are filled with sensuality and evoke the anatomy of feminine bodies even in the most "informal" areas of the paintings.

The study of colour, in every canvas, is laden with different connotations through the chromatic atmosphere chosen. The pictorial gesture is exercised by dropping every technical conditioning and solely headed to an inner obsession. The will is to be able to carry, without mediation, a purely instinctive reality described in a composition moving into an expressionist territory. The apparent calm of some profiles contrasts with the neurosis of others, but they all retain the same sign and the same intention.


In the “Le Démon à l’Âge Classique” (French for “ The Classic Age Dæmon”) Max Blotas establishes a big, non exhaustive index of lugubrious sets.
This drawn collection of places will eventually help realize a brand new grimoire of (black) magic on an electronic ink book.


curiosity (man made)

“On many occasions the curious atmospheric effects enchanted me vastly; these including a strikingly vivid mirage - the first I had ever seen - in which distant bergs became the battlements of unimaginable cosmic castles.”

Howard Philips Lovecraft - At the Mountains of Madness


Law's interest in storytelling and capturing ephemeral moments is a fundamental aspect in her work as a visual artist and image maker. Blending photography and paint to highlight an instance or a mood that too easily slips away, she imbues her work with a deeply-felt sentiment to move and inspire those who see it to construct their own personal context to the visual narrative.


These spheres are made of flowers collected from Buddhist Temples. These flowers, and the multiple thoughts and memories of their donors, are now recycled and permanently captured into these globes which now radiate within Rose’s Galaxy Jewelry Collection.

Materials are at the heart of her work - lacquer, gold leaf, metal, wood, fabrics, precious stones, flower powder... She is also constantly driven to giving new life to secular materials, whatever they might be, by putting them into new dimensions. Scale is also a central preoccupation in her work - a bracelet can be just a bracelet or become a monumental sculpture, assuming new dimensions. New monumental sculptures are in progress.
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  • 15 rue Bonaparte
    75006, France
    +33 6 62 01 39 59

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Cesare Callegari, Lingo B, Sculpture

Cesare Callegari

Lingo B, 2017
4.3 x 11.8 x 4.3 inch


Cesare Callegari, Lingo A, Sculpture

Cesare Callegari

Lingo A, 2017
15.4 x 7.1 x 5.9 inch


Cesare Callegari, Lingo C, Sculpture

Cesare Callegari

Lingo C, 2017
8.3 x 5.5 x 5.9 inch


Cesare Callegari, Lingo D, Sculpture

Cesare Callegari

Lingo D, 2017
7.9 x 8.3 x 5.1 inch


Cesare Callegari, Lingo E, Sculpture

Cesare Callegari

Lingo E, 2017
10.2 x 8.3 x 10.6 inch


Bruna Rotunno, Enchanted forest #3, Photography

Bruna Rotunno

Enchanted forest #3, 2016
27.6 x 41.3 inch


Gabriele Dal Dosso, Cubo di Gabo - M³.N_W2, Sculpture

Gabriele Dal Dosso

Cubo di Gabo - M³.N_W2, 2017
23.6 x 23.6 x 2.4 inch

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Gabriele Dal Dosso, Cubo di Gabo - M³.N_R2, Sculpture

Gabriele Dal Dosso

Cubo di Gabo - M³.N_R2, 2017
23.6 x 23.6 x 2.4 inch


Ilaria Bochicchio, #chambre addio x5, Painting

Ilaria Bochicchio

#chambre addio x5, 2015
39.4 x 39.4 x 1.6 inch


Emanuele Ravagnani, Senza Titolo #1, Painting

Emanuele Ravagnani

Senza Titolo #1, 2016
4.7 x 4.7 x 0.8 inch

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