<div><p>The French artist creates armor-like sculptures inspired by 3D printing that defy the rules of clothing</p></div><p><strong></strong></p>

Ingrid Luquet-Gad

On the rise: Jeanne Vicerial

<p>During her PhD in Fashion Design through Practice completed in 2019 as part of the SACRe doctoral program at the École des Arts Décoratifs in Paris, Jeanne Vicerial developed a process inspired by 3D-printing technology. A single, recycled thread – sometimes as long as 150 meters and seemingly infinite – weaves the garment together and gives it shape. </p><p>The sculptures exhibited at Templon in Paris are made using this unique process. They fill the space while keeping their ambiguity. They don’t seem to belong to a particular genre or era – or rather, they could each belong to a myriad of possible genres or periods. The corporality of the <em>Armor</em> is suggested by the objects’ pure lines and counter-shapes. They are imbued with ink, flaunting themselves and recoiling at the same time, playing with ideas borrowed from mythology and post-humanism. They take shapes that are sometimes sculpture-armor, sometimes clothes-skin, depending on how they are seen. They are also potentially wearable, for Vicerial first worked in the fashion industry – a proximity that would ultimately allow her to achieve greater distance. Her custom-made designs are a response to ready-to-wear and fast-fashion, a way of using individual flexibility to counter certain constraints.</p>

<p>Mathieu’s kaleidoscopic paintings are at once entirely abstract and evocative of people, moments, and places. They blend Haitian visual culture with Western art movements and draw on the kind of catalogs he was absorbed by growing up, as well as conversations, experiences, and photographs. ‘The source image is just a structure,’ he says. ‘Look at the painting alongside it and you can see that structure, but look at the painting alone and it’s a different ballgame.’ Two pieces he’s particularly proud of: <em style="background-color: initial;">The Ritual</em> (2018), a light-filled canvas of lemon-yellow and violet, loosely based on a photo of the artist propped up in a hospital bed after a traffic accident, and <em style="background-color: initial;">Les Immortels </em>(2022), a vast diptych inspired by a picture of the Eight Immortals, from Chinese mythology, in a boat at sea. What the artist hopes is that each viewer brings to each work a unique perspective: ‘I hope they trust themselves.’</p>

<p>Manuel Mathieu is represented by&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1424/Pilar-Corrias">Pilar Corrias</a>, London. He is currently in residency at Art Explora&nbsp;– Cité Internationale des Arts in Paris, and presents&nbsp;‘World Discovered Under Other Skies’,&nbsp;a solo show at Art Windsor-Essex in Windsor, Ontario. In 2021, he participated in the Artists’&nbsp;Influencers panel, moderated by Hans-Ulrich Obrist, during Art Basel Miami Beach’s Conversations program.</p><p>Chloë Ashby is an author and arts journalist based in London. Her first novel, <em>Wet Paint</em>, was published in April 2022.</p><p>Captions for full-bleed images: All&nbsp;artworks by Manuel Mathieu, courtesy of the artist and Pilar Corrias, London. 1. <em>Unmade</em>, 2022. 2. <em>The weight</em>, 2022.</p>

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On the rise: Manuel Mathieu

The French artist creates armor-like sculptures inspired by 3D printing that defy the rules of clothing

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