Sandrine Pelletier burns and breaks her media. She puts wood, metal and glass to the test with fire and acid, inflicting deliberate accidents. Yet she does not destroy the materials; she uses brutality to generate new forms of delicacy. Her artworks capture post-disaster landscapes and put our contemporary realities into sharp-edged words. A native of Lausanne, she has spent time in Lebanon and Cairo. Her experiences there since 2012, in lands shaken by upheaval, destruction, and renewal, have shaped her creative practice in far-reaching ways. Her oeuvre pays heed to the remains that outlast ruin: the darker the night, the greater the need to record what survives. Even when matter itself is blackened and consumed, Sandrine Pelletier’s work holds out the promise of roses and light.
Sandrine Pelletier was born in 1976. She divides her time between Cairo and Lausanne.

Jean-Luc Verna is of the category of artists whose life is their art and vice versa. His daily life is a performance, his body a sculpture, a battlefield. The air he displaces through movement is laden with new wave tonalities and hints of glamorous scandal. Yet his art is more than his individual self: it is a proliferation of drawings, musical landscapes, birds of ferocious augury, ruined portraits of humanity, and installations gesturing to the music-hall tradition. Jean-Luc Verna’s heavenly canopy may be strewn with rhinestones, but the star that has presided over his fate for three decades is black or metallic. He is also known for his activism in favour of overlooked or marginalised groups, in particular the LGBTQIA+ community. His oeuvre, suffused with a serious tone, is fully aware of the concatenation of tragedies. It is a work of memorialisation, but one that refuses to take itself too seriously: like a poet, facing outright defeat, it sings of victory as it falls.
Jean-Luc Verna was born in 1966. He lives and works in Paris.