The Loft gallery will be closed in August and will open its doors on Thursday, September 1. We wish you a good summer.

The Beaux-arts de Paris and the galleries of Saint-Germain-des-Prés are joining forces to allow young graduate artists to exhibit in the original format of the showcase, thus offering a look at young creation during the period. summer.

Galerie Loft presents the paintings of young graduate Brice Blanqué.

“I mix memories,” says Brice Blanqué. For sure, a feeling of deja vu emerges from the first glance on these licked canvases which smell of hot tobacco, the infusion of yesteryear or the gray matter of Einstein. Is it because they summon personal memories or references that are paradoxically common to all? Or that they amuse the childish eye trying to decipher a rebus?

Let’s take a look at the geometric ornaments present on the wallpapers and carpets: between art deco style and the 1970s brought up to date, these patterns are either treated flat or converge towards a vanishing point nestled in depth. Some form a screen; the others, an off-screen. This beyond the image – Magritian betrayal – generates an artificial space, between interior and exterior, to engage the observer in an introspection, then an extrospection.

Note that a form of spatial confusion is caused by these falsely disparate patterns which harmonize with a palette ranging from hazelnut to salmon pink, from cerulean blue to slate, all punctuated with shimmering touches. If the atmosphere seems hushed, ghosts silently haunt each scene like reminiscences of a past or the return to consciousness of an erased impression. These specters are the visible trace of the painter’s repentance: Brice Blanqué plays with aesthetic and mental transparency with a dexterity that is as technical as it is disconcerting. The result is an image that is too methodical, too clean to be real. It is this work already museumized, obliged to weave a dialogue which must agree with the other objects exposed in an impeccable room where nothing must hinder their contemplation.

Brice Blanqué’s painting piques exactly this aporia: faced with Jean-François Millet’s Angelus quoted in one of his paintings, how to “really” feel the devotion of the peasants… This observance imposed by the ecclesiastical institution does not would it not remind the one imposed by the museum institution to the viewers? There, perhaps lodges the key of the rebus.

Anne-Laure Peressin