“Boris Chouvellon has always been fascinated by the other side of the picture, or by what he refers to as ‘the aesthetic of rough areas.'” Julie Crenn

WHY COLLECT: The series Petites Mains, 2016, is exemplary for its plastic strength and its polysemy (we think of the collections of antique busts, of the precious trophies of tribal headhunters, and of the metaphor of “losing one’s head” as well). The artist exchanges new polystyrene heads for the used ones damaged by the needles of African hairdressers in Parisian immigrant neighborhoods. They serve as molds for his concrete replicas. There is here a suggestion of the Japanese tradition of kintsugi, which does not conceal the repairs made in a precious object but adds a layer of gold or silver to emphasize them. Chouvellon’s photographs of vibrant shreds of flags billowing in amusement parks form a poetic testimony to the contentious and yet seductive objects associated with our immediate history and inescapable needs.

Boris Chouvellon


“In my work, the image is always at the core, but I feel the need to dissect it or pull it apart, towards sculpture, installation, or something else that might break the habit of a straight shot.”

WHY COLLECT: These works originating from Sylvie Bonnot’s trips in France and abroad—mature examples of her technique of repositioning the silver-gelatin surface of a print—drive deeply into the territory of photography as a medium and its agency in relation to our sense of the surrounding world. They conflate photographic printing and a mental imprint.

Sylvie Bonnot and Projects