MÉDIAS

La galerie de Thorigny ouvre ses portes aux artistes hors-cadres, hors-formats et hors-frontières. Répensée par Esma Derdour, la galerie de Thorigny présente au public des oeuvres à penser, à admirer et à vivre, à ramener chez soi ou à offrir.

We see the connection between contemporary art and music as an enriching inter-stimulation.
With this new collaboration, the Thorigny gallery is moving from an exhibition venue to a creative venue to highlight two artists, including a sculptor, Delphine Zingg and a musician Mourad Moox. The latter develops a sound rhythm by incorporating the noises produced by the daily gestures of the creation process of Delphine Zingg's “Pavé”.
From different universes and with boundless creativity, this innovative and dynamic collaboration gave birth to a user-friendly project: "RTT".

La galerie de Thorigny ouvre ses portes aux artistes hors-cadres, hors-formats et hors-frontières. Répensée par Esma Derdour, la galerie de Thorigny présente au public des oeuvres à penser, à admirer et à vivre, à ramener chez soi ou à offrir.

We offer you an intimate video of the artist, where we dive into his daily life of creation where he discusses the use of unique oriental elements on his silk canvases, synonymous of flesh for him. He also evokes the attention he devotes to details and the importance of the choice of colors symbolizing the soul of his creations. The artist also looks back on his life as a fashion designer recognized in his country of origin and the reasons that led him to return to his lifelong love, Art.

La galerie de Thorigny ouvre ses portes aux artistes hors-cadres, hors-formats et hors-frontières. Répensée par Esma Derdour, la galerie de Thorigny présente au public des oeuvres à penser, à admirer et à vivre, à ramener chez soi ou à offrir.

La galerie de Thorigny, offers you a few minutes in immersion in the process of creating an artwork of l0m of the Japanese artist Rina MARUYAMA. With her discreet personality and her touching journey, we were dazzled by her naked bodies full of light that proudly display an uncomlexed femininity and assumed forms.

PRÉFACE OF THE EXHIBITION 

RENAISSANCE D'UNE FEMME  

Rina MARUYAMA

“Body of sky, body in weightlessness, body-universe. Young artist from Japan, Rina Maruyana, Parisian by adoption, proposes a very rich renewed vision of the human being. Spiritualized, densified and as if in weightlessness, the sacralized flesh detaches itself modestly, and proudly, from the expanse. It reigns in plenitude. In infinity. 
The wisdom of Asia embraces from within its sumptuous nakedness. Imprinted with another thought, when it is the body that triggers thoughts, and oxygenates the mind in depth. The painted bodies of Rina Maruyana, against a background of unfathomable space, are as many soul markers, at the limits of all carnal expectations. Her bodies, always in statuary position, are in dominant situation. They reign in carnal majesty. They carry the contemplation until the sharp edge of the infinite. 
The body of appearance is a false body, manufactured of all cultural parts, imposed and dogmatic. The Maruyanesque body is lived, vital and inhabited. It is a place of universal humanity. Body marked of sensual abstraction, and rich of warm vital thickness.
The body of appearance is ghost of eternity. The painted body of the painters is body of ultimate resistance, body of indispensable truth. The body of the depths does not have voice in the light chapter of appearances. 
The body, distinguished from the landscape, embodies a kind of symbolic rupture of the umbilical cord, the possibility of living without attachment, in the autonomy of a relation of existential control. This first separation supposes the capacity of reception of the intracorporeal otherness. The artist, as the dead pharaoh would engage himself for the eternity of his rebirth, recreate his body by the process of creation, as he recreates the carnal landscape of his dreamed life. 
The work of Rina Maruyana demonstrates the imperative need for pictorial stripping. And the gaze finally abandons itself to the essential.”

Christian Noorbergen, July 26, 2021
Art critic and lecturer