Une partie de campagne

The Uruguayan gardener, Alexandro García, began to transcribe his ethereal visions following an encounter of the third kind - or avistamiento - that he experienced as a child. Worthy heir to magical realism, however, he goes beyond its scope: he speaks to us of an elsewhere offered to our projections and to the colonization of a new humanity through inhabited and saturated architectures. Present notably in the abcd/Bruno Decharme collection (France), his work was shown in the exhibition Elévations in 2015, co-curated by Antoine de Galbert, and tribute to the Palais Idéal du Facteur Cheval, a fairy tale palace built by the postman Ferdinand Cheval in 1879.

The days of the Sicilian Giovanni Bosco were marked by popular Neapolitan songs and paintings of rare inventiveness that he performed on the walls of his city or on makeshift materials: dismembered or “overmembered” bodies, serpentes shapes and homunculus, cephalic hearts, words and signs punctuating the drawing’s interval. A colorist of the Sicilian streets, the artist is now part of prestigious collections, including those of Antoine de Galbert, abcd/Bruno Decharme (France), and Treger-Saint Silvestre (Portugal).

After a decorative arts training, she met her double in 2005 and became “Pandora.” Pandora is like a carnal key, capable of opening the doors of time, but also the higher strata of consciousness. Her works, mostly in graphite on paper, bear witness to her temporal journeys and act in our eyes as vibratory fields. Her divinatory work - close to Zdenek Kosek in his cataclysmic perception - is already part of the collections of Antoine de Galbert (France), Amr Shaker (Switzerland), the Museum of Everything (Great Britain), and the Collection of Art Brut in Lausanne.

Ramiro Sebastián Ferreira Martinez de la Pera, known as “Seba,” born in Asunción (Paraguay) in 1981, is diagnosed with paranoid schizophrenia at the age of 15. His early dream of a career as an architect becomes unattainable. Graphic production, which already occupied him as a child, then turns into one of the only bridges between his fertile imagination and a world he mainly experiences from the inside of his room, isolated. More than 400 artworks are thus born, carefully ordered, invisible to others until they are finished. The gallery shows his work in a solo show for the first time.

John Devlin was only 25 years old when he left Canada to study theology at Cambridge and set himself on the path to priesthood. Although he adored Cambridge, he had to return and abandon his ecclesiastical dreams because of a psychotic disorder. He thus devoted his life to drawing his own Nova Cantabrigiensis, an idealized Cambridge that became both a symbolic projection and a healing protocol. Once his great work - developed in secret - was discovered in the late 1980s, he was the subject of numerous exhibitions and publications including the Rencontres de la Photographie d’Arles for the iconic exhibition Photo Brut.