Scoli Acosta (1973, lives and works in LA, USA), Solar Panel Relief, 2008, papercrete, polyurethane glue, acrylic paint 68 x 98 x 8 cm; Sunflower Tire Planter, 2008, paper bag, gel medium, foam core, acrylic paint, rubber car tire. The two works on display here where created at the occasion of the artist’s show at the gallery in 2008.

Carbon Footprint is a continuing investigation based on the metaphorical and practical applications of alternative and renewable energies and the “aesthetics of resourcefulness”.It is as well an outgrowth of “Bountiful”,my first solo project in Los Angeles recently presented at LAXARTinLosAngeles which took as it’s starting point, bricks that are rolled by the ocean. I use found and recycled objects and materials, isolating the overlooked poetics and utility of the quotidian in an organic studio process, where each sculpture, painting, drawing, (etc.) leads to the next. References include cornucopia murals (as found on the street corner markets in East Los Angeles), cars, solar power, the plant world, and manmade structures affected by the processes of nature. The project proposes to bring a stateside survey of my surroundings and experience in the US, which includes a formal focus on painting and sculpture, since returning from France where my work, for the most part, took the form of performances.

Sylvie Auvray (1974, lives and works in Paris) Sans titre, 2016, ceramic. As a painter, I completely lost my inhibitions with ceramics. It was extremely therapeutic. I had always created objects, but they were confined to my atelier, In fact, I would call them my “atelier pieces” up until the day I began to show them. That released a flood of things, one of which was my painting practice. Ceramics require an immediate succession of actions: you take your clay; you make a shape; you dry it; you fire it in the kiln. There’s no time to waste. It’s immediate, sequential. I no longer worry for hours about what to paint.

Hsia-Fei Chang (1973, Taipei, lives and works in Paris) Bubbles, 2011, neons, 150 x 100 cm. The finesse of Hsia-Fei Chang's artistic practice is apparent in the initial impression of airy nothingness that soon turns out to express terrible, because trivial, violence – the burden of ennui, the ridiculousness of habit – and the anxiety of solitude, love, lies, and betrayal.Her wit is not cynical or ironic, far from it: rather, it is funny, tender, and humble. The artist does not set herself up as judge, nor does she give in to the temptation of facile sentimentalism. Hsia-Fei Chang is best known for her offbeat performances, sometimes verging on the trashy, as joyfully liberating as they are eerie. The audience is invited to read the artist's own "novel".Hsia-Fei Chang always starts from one unique narrative, evoking her own life or a media human interest story to pin down universal sentiments, thereby achieving the abolition of distance between her own narrative and her audience, between the individual who lived the story and the one now discovering it.

Delphine Coindet (1969, lives and works in Chambéry), Prismes (n°7), 25 prisms, glass, medium, 200 x 70 x 70 cm.

For some twenty years now, Delphine Coindet has been developing a sculptural language through collages and assemblages of widely varying materials and techniques, as well as arrangements of the exhibition itself, treating the display space as an open mise en scène. The inventiveness of her style, which generates an endless dialog with architecture and design, is articulated today around a broad palette of experimental works that includes the art exhibition itself of course, as well as theatre design, performance, publically commissioned art, and the creation of radical furniture. The Cirva (the International Center for Research in Glass and the Plastic Arts, Marseille) invited the artist to work with experienced artisanal glassblowers in a material that was entirely new to her practice, glass. The artist has come up with forms that take advantage of both the virtuosity of the craftsmen’s technical expertise and chance, the accidental, leaving room for the creation of a series of variations in terms of colour and texture. Fragile and unstable, Prismes is made up of supernumerary modules that are arranged in an alternating head-to-tail pattern and are separated by perforated trays. Borrowing from the way craftsmen work, the experimentation here involves a series, which makes it possible to improve both gesture and the thinking going on behind a piece.

Marc Couturier (1946, lives and works in Paris), Theatrini, staves, wood and fluo lights, circa 43 x 76 x 31 cm. Marc Couturier has a unique approach to the world of art. Like a poet, he knows how to see and reveal wonders that generally escape our attention. As a tireless observer of the everyday, he notices signs and analogies that are invisible to the naked eye and deciphers, better than anyone, quite fascinating secret relationships between things. In his series called « redressement » (« staightening »), the artist gives the viewer to see everyday life objects, without changing them. An aucuba leaf becomes a stained glass; a walk in Amiens gives form to the « Cabochons », a display of staves’s pieces found in wine houses transforms them in « Theatrini » that becomes landspace for the viewer.

Philipe Durand (1963, Paris), Vallée des merveilles 2 #07, 2015, Inkjet print on Hahnemule Photo Rag paper,129 x 104 cm. Philippe Durand developed the photographic technique of wandering in search of visible traces of expression in public spaces: objects placed and moved, self-generated collages, graffiti. Playing with the evocative power of images and with visual analogies, he has been making portraits of various cities and their surrounding areas, Bamako, Brussels, Los Angeles, Paris, Nice, which reveal the fleeting signs of and clues to their social and economic evolution. In 2014, Philippe Durand decided to explore the Valley of Marvels, in the National Park of Mercantour in France. Fascinated by that natural wonderland, he found in it an outstanding archaeological heritage, which he believed constituted “another public space, obviously not urban yet sign-posted, marked, passed on from one person to another”. Considering this site to be an open-air proto-museum, with no designer or curator, with no audience or communication plan, the artist turned it into a place where his work could develop, in a new dimension of space and time.

Vincent Olinet (1981, lives and works in Paris), Young Ruins / Forever for ever, 2015, acrylic on laminated glass, 100 x 70 cm. Throughout his practice, and since he graduated from theBeauxArts of Lyon in 2005, VincentOlinet has been producing a diverse body of work that questions our relationship to the artificial and the fake, tied into issues of history and its mental representations in contemporary cultures. In 2013, he started to simultaneously investigate certain materials (or anti-materials) such as faux marble, and the social implications of graffiti. His research included documentation of graffiti left by individuals on historical sites, culminating in a news scandal in 2013 where a tourist scratched an Ancient Egyptian monument in the site of Luxor, leaving her name engraved in the stone.This fascination for a quasi primitive gesture and universal need for leaving a trace behind pushed Olinet to investigate graffiti in public places, where language becomes a outburst of exacerbated feelings of love and/or hate.

Olinet’s interest for the artifice lead him to experiment with the reproduction of faux marble paintings. As a material, the fake version of marble contrasts with the real one in so far as it lacks any geological content. The careful and industrious recreation of a material produced by nature’s accidents allowed Olinet to address problems of representation, appearance and constructions of cultural content. At the studio, Olinet painted on various sized glass panels a reproduction of faux marble. On the backside of the panels he scratched the paint and drew graffitis he had seen and documented in nearby bars. In some case, he deliberately installed the panels in the bars where individuals were encouraged to scratch and thus contribute to the work.

Haim Steinbach (1944, Israël, lives and works in NY), castle in the sky, 1986, print on vynil, variable dimensions.

Haim Steinbach raises everyday objects to the level of art. He explores the common social ritual of collecting, arranging and presenting objects, in turn discovering the psychological and cultural context of the object. Steinbach's work has radically redefined the status of the object in art and has had a far-reaching influence on the growth of post-modern artistic dialogue.

Steinbach is a veteran collector of “objectified” short statements. When he comes across a colloquialism, a title, or a slogan that strikes him as intriguing or relevant to his work, he clips the text, conserving both the words and typeface, which is their visual presentation. By turning vernacular phrases into wall painting, drawing or print, Steinbach subverts the original context of the language he’s found and moves the words toward new identifications and associations. Just as Steinbach’s shelving of objects reminds viewers that display is an ideological enterprise, his wall paintings of vernacular text serve also to play with established codes of interpreting what is seen.

Alan Vega(1938-2016, NY USA), Rouge, 2013, mixed media, 162,5 x 162,5 x 20 cm. Alan Vega, known to be one of the pioneers of minimalist electronic rock, as the co-founder with Martin Rev of the mythical band « Suicide », is firtst and foremost a visual artist active on the New York scene since the end of the 1960’s. "I started as a painter. The first time I did a light piece was when I was working on a very big purple painting. There was one light bulb in the room and as I walked around I noticed how the painting acquired different aspects. I wanted it to be one colour so I said, "Fuck this, man !" I took the light out of the ceiling and really stuck it on the painting. That started me with the whole idea of light because I wanted to control the colour but then I suddenly began to realize just how much light affects a painting- all painting is about light. Without light in the room you wouldn’t see the painting. Painting is actually reflective light. Suddenly, I wanted to control the light, I wanted to control the colour and as I started working with light, I started getting more and more into different colours of light instead of using paint. I started using light bulbs of colour that became my paint, you know, and then also because you have to attach a bulb to a socket, it suddenly became a sculpture.»

Yarisal & Kublitz (Ronnie Yarisal 1981, Switzerland /KatjaKublitz, 1978Denmark – live and work inBerlin), XOXO, ceramic, bamboo, rope, 250 x 63 x 4 cm (entrance), Walking the walk, talking the talk, 2014, wood stick, tissu, bouncing balls, brass (room 1).

The Swiss and Danish duo is known for their emblematic and enigmatic, imaginative and often humorous. By mixing the inorganic with the organic, traditional religious symbols and their New Age counterparts with common everyday references and popular culture, the line between what is considered holy or secular becomes blurry. At once commonplace and strange, the sculpture scompel their audience toward expanded associations by releasing iconography from accustomed paradigms.

Elizabeth Grady writes, “Ultimately, their work as a whole explores the territory of the human condition; from our physical embodiment tour metaphysical state of being».