PARIS.- Eva Jospin’s new exhibition, Grottesco, now on view at Galerie 9, invites visitors into a richly layered world where sculpture, architecture, and landscape blur into one another. Bringing together more than fifteen works—several created especially for this presentation and unveiled for the first time—the exhibition marks a new chapter in the artist’s ongoing exploration of imagined spaces and hidden depths.

For more than a decade, Eva Jospin has been building a singular body of work shaped by forests, ruins, and grottoes. In Grottesco, these motifs come together with renewed intensity. The title itself points to the origins of the “grotesque”: the rediscovery of Nero’s buried Domus Aurea, whose underground frescoes inspired a style where vegetal, architectural, and fantastical forms intertwine. Jospin draws on this history not as a quotation, but as a starting point for her own imaginary landscapes.

The exhibition unfolds as a physical journey rather than a linear display. Visitors move slowly through the space, encountering sculpted reliefs, architectural fragments, and cavern-like structures that seem to emerge from another time. At first, architecture dominates—monuments, domes, and ruins suggest human order and construction. Gradually, however, these forms give way to nature: dense forests appear, enclosing and obstructing the path, forcing viewers to turn back and look again. Nothing is revealed all at once. The exhibition insists on movement, detours, and repetition.

This sense of instability is central to Jospin’s work. Motifs recur but never remain fixed. A form glimpsed from one angle transforms when seen again from another. Architecture merges into vegetation; mineral surfaces converse with textiles. What initially feels familiar becomes strange, and what seems decorative reveals unexpected depth.

Among the most striking new works are a series of embroidered bas-reliefs. Combining textile and sculpture, these pieces challenge traditional hierarchies of technique. Embroidery breaks free from the flat surface, gaining volume and architectural presence. Beads, loose threads, and fringes cascade across the works, evoking reinvented nymphaea and landscapes suspended between memory and fantasy. These hybrid objects signal a significant expansion of Jospin’s practice, pushing her exploration toward even more fluid boundaries between mediums.

Grottesco is not an exhibition meant to be consumed quickly. It rewards patience and attentiveness, asking viewers to slow down and accept uncertainty. In doing so, it offers a compelling meditation on how worlds—real or imagined—are constructed, remembered, and continually reshaped.