"My work has always been guided by certain concerns or obsessions, which can be seen as being divided between the particular and the universal. The particular, that is, the observable aspects of reality, the things that surround us (the landscape, our bodies) The universal, that is, things that are too large or too tiny to be grasped (space, atomic physics) - and which inevitably become one sort of abstraction. These are the things I think about, emphasizing the relationship between these elements - the place where they meet and interact, rather than their separation. I am concerned with my position, where I am. position of anyone, in connection with these aspects of existing reality ... the act of observing inter-space; visual consciousness and perception as a way of understanding existence, like a filter. I tend to be drawn to related but opposing visual phenomena, such as the positive and the negative, model and randomness, color and grayscale, flatness and depth, representation and abstract image. I always want to go both directions at the same time and a lot of my work has been trying to find ways to integrate these opposites. My most recurring motif is the circle in all its forms and references. Atoms, points, spheres, solids, nothingness, cells, self, stars, eternity, void - it's crazy what one can relate to this form. "The practices of Rainier Lericolais (born in 1970), plastic and musical, come together in the notion of recorded memory: he takes from many cultural strata the artefacts and other symbols that make up his works, whether visual, sound or spatial in which references are mixed. musical, cinematographic, plastic, and literary. One of the works in the exhibition, The Invention of Morel, thus refers to the eponymous short story of the Argentinian writer Alfonso Bioy Casares who, shipwrecked, finds refuge on an island where every day is repeated tirelessly, and he ends up discovering that the work works a large disc which is replayed daily. This first exhibition of the sculptures of Rainier Lericolais in dialogue with the paintings of Lisa Beck presents one of the major axes urs of his work: abstraction and representation of sound, particularly through the prism of the question of recording. This notion is also found in his works on paper: photograms, oscillograms, scannograms (recording of light in the form of vibratory waves), vinyl prints (Phantoms). This ability to fix a lived moment on a medium and the fragility of the latter are obsessive themes of Rainier Lericolais which allow him to reflect on the conditions of emergence of an object in the time that knows it.