23 MARCH – 18 JUNE 2018
Exuberant, mysterious, and magical at the same time, the polymorphic work of Francisco Sepùlveda, a Chilean contemporary artist, abounds with references to its South American roots and the different cultures to which it has been exposed during its numerous and incessant voyages. The critics look at this work and talk about the “Sepulveda Galaxy”, the palette of gods and compare it with a merry ogre with thunderous laughter, a voracious and insatiable giant, devouring universes. With his first exhibition dating back in 1995, he now regularly displays his works in France, Germany, Switzerland, and the United States of America. The artist has studied drawing, painting, and engraving at the School of Fine Arts in Santiago and then at the Atelier Wilfredo Lam, who was a friend of Picasso, Miró, Matise, Hemingway and others. There at Wilfredo’s atelier Francisco has explored the experimental techniques of Engraving.
The Chilean artist lives and works between France & Mozambique. His work is full of poetry and surrealistic characters that question history and the contemporary society where he lives. He is one of the most significant young Latino-American artists in the French art scene. Last solo shows: 2017 Galerie Claudine Legrand, Paris; 2014 Galerie Le soleil sur la place, Lyon. Last group shows: 2015 Galerie Chantal Mèlanson, Annecy and Galerie 22 contemporain, Coustellet, both France. Public collections i.a.: The New York Public Library; Museo Nacional del Grabado, Buenos Aires; Instituo de Artes Gràficas de Oaxàca, Mexico; Graphic Collection ETH, Zurich; Bibliothèque Royale de Belgique, Brussels ; Bibliothèque de Catalogne, Barcelona; Biblioteca Nacional de España, Madrid; Biblioteque National de France, Paris; Bibliothèque de la Part-Dieu, Lyon; Musée du dessin et l’estampe original, Gravélines; Musée Jenisch-Vevey-Suisse. 2009 and now at Louise Gallery 2018.
“Artist of the year”, French magazine Azart. 2014
“One of the 50 bigger living painters in the world”, French magazine Miroir de l’Art.