PARIS.- At dusk a man falls asleep in his hideout. A glimmer of hope is promised when the day is over and a new day looms. This point of transition between day and night signifies a boundary between two ages. It is a story embodied with meaning made up to feel reassured. This witching hour affords modern man different liberties to dream. Quieting the world around him, he lies there in private reverie and meditates on his instinctual nature and the origins of man. Through thousands of years of history modern man rejected primitive impulses and the bestiality of distant ancestors so to overpower the nature which surrounds him.

At the blue hour he awakes from this ancient dream. From the rocks imaginary and mysterious creatures emerge and take shape. The entrance of a cave; the presence of a fossil; the footsteps of our fathers: he goes in search of the picture which is missing. His own origin story which reveals a sense of connection and intuition not reflected in the artifice of his contemporary time and place.

Foregoing semantic narrative structures Patrick Guidot and Charlotte Lepelletier have developed their own instinctive pictorial language within their respective art practices. Drawing on line, gesture, mark-making and materiality as a site of meaning, Guidot and Lepelletier engage with various mediums to explore their process driven practice. Featuring paintings, sculpture, installation, the exhibition ‘Origin’ at Slick art Fair , Paris is the fourth cycle in a serie which began with the exhibition ‘Equinox’ at JBC1 gallery, Paris in March 2013.

Guidot and Lepelletier write: ‘Man shouts to celebrate life. The spirit of man and material are reconciled by Art in the daily quest for contribution to arise. This ontological approach leads to the proposal of an intermediate and absolute shape of man’s image, of his environment and his spirituality. These are some of the challenges of this exhibition. Creating works to act like a mirror, the viewer is invited to reflect on his or her own contemporary animal condition.’

Charlotte Lepelletier is a French multidisciplinary visual artist who lmostly ives and works in Paris. Such talents where cultivated from a tender age. As a child Lepelletier studied at the Waldorf School, where she was exposed to painting, sculpture, handicrafts and theater. These talents were pursued and cultivated throughout high school and later university study.

Though initially studying Applied Art, specialising in Fashion Modeling at ESMOD, a series of life events inspired Lepelletier to explore the possibilities of temporary installation sculptural practices. Employing found objects and ephemera Lepelletier’s early works draw on an aesthetic of destruction and flux, personally reflecting her autobiographical experience with irony and humor.

Her current works investigate the organic notions of the body and its belonging, change and memory as explored though the interplay between various organic and inorganic materials and objects.

In 2012 Lepelletier began collaborating with French painter Patrick Guidot which has influenced her aesthetic approach in a number of ways. The exhibition ‘ Origin’ marks a new show together.

Born in 1985 in Lyon, currently lives and work between Paris and Berlin.

During four years, his curriculum was very academic, required to gain knowledge in the basics of fine art : antique studies, nudes, anatomy and perspective. Hrealised his very first oil series at school representing the 14 stations of the cross, borrowing compositions from Rembrandt and Boticelli. In the professional realm of things, Guidot regularly works for prestigious houses such as Atelier Meriguet-Carrere. Working closely with painters who have a more traditional approach of painting has helped him gather both the knowledge and chemistry nescessary to mastering his own craft. Increasingly attached to the inherent richness of the painting matter itself. His work find a form of legitimacy in this important technical basis, and find their place in a certain tradition of painting.

Guidot's pictorial works mainly address existential, ontological and spiritual themes, in a style that could be qualified as both figurative and conceptual. He aim to create an a-temporal image gathering diverse influences from the contemporar world.