02 10 En me depeçant, separant ma chair et mes os, je deviens a mon tour un Soucougnan, 2025
Ludovic Nino  

Fine Art Drawings : Indian ink · 65 x 90 x 1.5 cm 25.6 x 35.4 x 0.6 inch · Ready to hang

€2,600 2 600 €
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Shipped from: France

Delivery to: Spain , € 120

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About the artwork

Type

Fine Art Drawings : Unique artwork

Condition

Artwork sold in perfect condition, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

65 x 90 x 1.5 cm 25.6 x 35.4 x 0.6 inch Height x Width x Depth

Artwork dimensions including frame

75 x 100 x 1.5 cm 29.5 x 39.4 x 0.6 inch

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Vetted seller since 2025

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Description

Crossed Roots: Colonial Memories and Plant Resilience.

Taiwan memoir series.

Ludovic Nino conceives of memory as a network of interconnected narratives, where landscapes become the silent guardians of colonial histories and cultural resistance.

His new series is inspired by the parallels he draws between the Caribbean and Taiwan, two territories shaped by complex colonial legacies.
Fig trees, with their invasive roots, become metaphors for the layers of memory that remain alive despite historical changes.
In his ink drawings on Korean paper, Nino superimposes symbols of resistance from Caribbean Maroon communities onto traces of Japanese colonization in Taiwan, where these trees symbolize both the oppression and resilience of the local population. His works present themselves as visual archives, where each fig tree carries within it fragments of often marginalized or forgotten stories.

By depicting these trees simultaneously smothering and preserving the vestiges of the past, Nino underlines how collective memory takes root in landscapes, transforming them into silent but persistent testimonies of cultural conflict and adaptation.
For Nino, memory is not simply an inheritance: it is a living process, where the past and the present constantly confront and reinvent themselves.

Landscape

Drawing on paper

Landscape

Grey

Ludovic Nino, 02 10 En me depeçant, separant ma chair et mes os, je deviens a mon tour un Soucougnan

Ludovic Nino

France  • 1990

Presentation

Ludovic Nino is a contemporary artist born in Paris in 1990. Born into a family originally from the countryside of Saint-Marie in Martinique, he was raised between the metropole and the Creole stories transmitted by his father, which deeply influenced his artistic vision. Graduated from the Beaux-Arts in Paris, he won third prize for contemporary drawing from the Cabinet des amateurs de dessin des Beaux-Arts de Paris in 2019.

His work explores the remnants of colonialism, issues of memory, resistance and cultural metissage in compositions combining minerals and plants, highlighting historical layers and tensions between nature and human construction. Nino is particularly attracted to wastelands, ruins, and marginal spaces, which he sees as places of struggle and reappropriation by nature and marginalized cultures. His works, often created with ink or paint, evoke landscapes steeped in history, where Caribbean, Japanese, and Taiwanese heritages meet.

In 2023, he participated in an artist residency in Kaohsiung, Taiwan, at the Kio-A-Thau Art Village, where he developed a series of works inspired by Taiwanese landscapes, Japanese colonial ruins, and native vegetation, particularly banyan and flamboyant trees.
This residency allows him to explore his views on cycles of construction and destruction, as well as the resilience of cultures in the context of colonial history. His recent creations, such as the series “Présence" (2024-2025), illustrate this confrontation between abandoned architecture and invasive nature, symbolizing the metamorphosis of identities and territories.

Ludovic Nino has presented his work in several group and solo exhibitions in France and abroad, notably at the Salon de Montrouge in 2025, the Fondation Clément in Martinique, and during the Kio-A-Thau residency in Taiwan.
His artistic approach, combining poetry and politics, questions the traces of the past and the possible reinventions of spaces and memories.

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