MADRID.- Sabrina Amrani is presenting the digital solo exhibition From Home, by Joël Andrianomearisoa.

Confined. Away from friends, family and social life. Isolated from the world. Sometimes on our own. Just like the artist Joël Andrianomearisoa is in his Parisian flat, millions of people already look at the world from a window, from a balcony, and try to continue their lives improvising with what they have at hand. There are no stores, no parks, nothing beyond the nutrition of the physical being. No art show to go nor any art supply to buy. Only what you have around you.

These are the laws that shape the new project by the Malagasy artist to produce a collection of objects, artistic works and, according to his own voice, "emotions". From home, with household tools. "These objects are explorations to forget time but above all to affirm the vital necessity of creativity”, says Andrianomearisoa with that particular expressive, emotional stamp, that poetic halo that he transfers to all of his work through titles and dialogues with which he invites us to interact in each of his exhibitions.

What is being home? What occupies the mind? What does the heart ask for? What can the hours of a clock that moves through the silence perched on deserted streets give? From home, the artist carves his agitation into each hour, and time feeds a different perspective of creation that, inevitably, stems from the objects that surround the artist, that interweave the universe of his most intimate daily life.

From Home is a new body of work by Joël Andrianomearisoa in which we are all complicit in some way, in which emotions and experiences are recognized, because we are all suffering – or enjoying – long hours of confinement and bewilderment among the objects that surround us, in our own isolated universe.

"Here, literality and minimalistic aspirations are present in appearance only. Indeed these works are more reminiscent of that type of formalist painting in which the artist would mentally immerse spectators in vast colour fields as a means of pushing them into a wholly fictitious space. (…) What we are talking about, then, is a kind of distracting trick, manipulation or falsification within the work itself, in its execution, its crafting and its potential. But at first sight, the work offers no clue as to its meaning, and this space sheds no light on the structuring of the artist's discourse." --Octavio Zaya. The Space in Between. 2018

"Joël Andrianomearisoa’s fake monochromes (fake because they have several tones) are often three-dimensional and do not permit an analytical approach — their proximity to traditional practices, the way they imply timeless, collective, and often ritual procedures (such as how to wrap the body), convokes an anthropology or, at least, the creation of an anthropological procedure dedicated to the complexity of the urban." --Delfim Sardo. Baroque declination. 2017.

Joël Andrianomearisoa, born in 1977 in Antananarivo, Madagascar. He lives and works between Paris and Antananarivo.

He took his first steps as an artist in the mid-90s, when he was barely 18 years old. From the outset his work took form through performances that would earn him the cover of Revue Noire Madagascar in 1998.

He explores many disciplines, from fashion to design, video to photography, scenography to architecture, installations to visual arts. This is likely where he draws his polyphonic work from, invading every part of his viewers’ sensitive space. As a part of this first pioneering wave of contemporary Malagasy artists he also actively participates in the cultural and artistic development of his country (Fashion festival Manja in 1998, the Sanga dance festival in 2003, Photoana festival in 2005, personal project 30 and Presque-Songes in 2007 and 2011, Parlez-moi in 2016 ...).

He studied at an art school in Madagascar first and then rubbed shoulders with craftsmen, which put him in touch with many renowned international designers. His training took a decisive turn at the age of 20 in France when he began studying at the École Spéciale d’Architecture, in Paris. In 2005, he graduated as an architect, presenting a fully graphic and textile project, far from the classic architectural approach that his research director Odile Decq had recommended.

Throughout his career, his work has been shown in five continents, including many prestigious international cultural institutions such as the Maxxi in Roma, the Hamburger Bahnhof in Berlin, the Smithsonian in Washington, the Centre Pompidou in Paris among many others.

In 2016, he received the Arco Madrid Audemars Piguet Prize and he is currently a finalist of the Loewe Craft Prize 2020.