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Patrice Vallette

Vallette Gallery

Vallette Gallery

3D exhibitions

  • Vallette Gallery

    the Peculiar Box (Andaruni)

  • Vallette Gallery

    ARA GÜLER UNIVERSAL VIRTUAL

    16 Dec 2020 – 17 Feb 2021

    Welcoming all audiences, the retrospective will present serious cultural subjects and will give an introduction to popular culture throughout the portraits of numerous individuals and celebrities. Our target audience is quite large including photographies’ enthusiasts, collectors, cultural aficionados, and people interested in discovering one of world most renowned photographers. An unprecedented event Pay a tribute to one of the most iconic photographers of the 20th century Promote the Turkish heritage and traditions revealed within Ara Güler’s photographs Reintroduce and reaffirm the large diversity of the Turkish culture on an international scale Curate multiple exhibitions throughout Europe and Asia to introduce his artworks to a large public

  • Vallette Gallery

    "MICROSCOPIA" a Virtual Solo Exhibition by Faizal Suhif

  • Vallette Gallery

    EXODUS - DÉJÀ VU Virtual 2020

    20 Jun 2020 – 01 Sep 2020

    The refugee crises has grown to become a global issue and a recurrent phenomena of our modern world. Every single day, thousands of people are forced to leave their home and belongings behind. The tragic events which occured in Cambodia, Iraq, Somalia, Soudan, Venezuela, Honduras, Mexico, Afghanistan, Soudan, Myanmar or Syria have sent millions on the roads to save their lives. We should not forget the outburst of violence, the unbearable situations which triggered the migration of each and every one of these individuals. All these people share a fate : the fate of the exodus. Considered in a row, all these poignant stories and pictures create a painful impression of déjà-vu. It seems, indeed, that History does repeat itself when it comes to its worst... Our photographic project has an educational aim and humanistic ambitions. Not only is it supposed to raise awareness amongst the younger generations, as they will be the leaders of tomorrow; but it also appeals to every citizen, in the sense that we all need to participate in the current debates. Our actions must be led with empathy and dignity. It is our shared duty to respond to these dramatic situations, to bring justice to those who have been wronged and deprived of their human rights. Therefore, we need to show what we saw. The exhibition Exodus Déjà-Vu showcases the work oftwelve famous photojournalists and awarded photographers which have closely followed and documented the conflicts and the perilous journey of refugees throughout time and space, sharing a glimpse of the daily struggles experienced by people deprived of their human rights. Two generations of international reporters are reunited on the basis of their joint efforts to alert on the inhuman situations they witnessed all over the world : Coşkun Aral (TUR), Suthep Kritsanavarin (THA), Issa Touma (SY), Roland Neveu (FR), Sergey Ponomarev (RU), Rahman Roslan (MY), Greg Constantine (CA), Jean Chung (KOR) Yalda Moaiery (IR) Guillermo Arias (MEX), Fabiola Ferrero (VEN), and Atilgan Ozdil (TUR). Each photographer brings his own masterpieces and testimony of the events. Together, we consider it our mission to unveil and put forward in Exodus - Déjà Vu the reality of millions. Patrice Vallette Curator & Director of Visioncy Agency

  • Vallette Gallery

    Raed Bawayah | Tree For Life

    30 May 2020 – 30 Jul 2020

    Raed Bawayah was hardly out of his teens when he seemed the equal of the great photographers. Born in the village of Qutanna, near Ramallah, he has focused on his home village in a manifesto as political as it is social. He describes the way children are shut in there, not daring to leave the yard they sometimes share with the family goat, the white rabbit and an attentive, protective mother. Occasionally, for a few seconds, they venture outside to play among the olive trees and cypresses, but always in a space that is very – excessively – restricted. The same issue is explored in his study of Palestinian workers forced by conflict and economics into exile in Israel, where they come together during periods of rest or pseudo-solitude in cramped, often shameful quarters where the sole choice is withdrawal into oneself. Most moving of all – and equal to Depardon’s San Clemente – is the series discreetly titled Hospital: gestures that are elusive, furtive, tender – gestures of fraternity often and of prayer, sometimes. There are no material lacks in this enclosed world, but we feel a solitude and psychological wretchedness that reflect the moral isolation of a people so to speak made prisoner in its own country. The most recent project, commissioned by the French Ministry of Culture, examines cultural diversity. Raed Bawayah’s tactic was to slip into the daily life of Gypsies, those tight communities so often ignored and even rejected, living in the interstices and withdrawn into themselves and their specific culture. Too often the caravan appears as the symbol of their isolation; yet it protects them as well, before they set off on the road again. In a few sparely structured images Raed underscores the tenderness that unites clan members, their pride in their traditions and the melancholy of having to move on. With great delicacy, compassion and discretion, Raed Bawayah subtly portrays a daily life very close to his own, and the situation of communities or peoples who have no choice but to submit to imposed isolation.

  • Vallette Gallery

    Lim Kim Hai | HARMONY

    03 May 2020 – 03 Jul 2020

    "Harmony" aims at showing the amazing artistic journey of Mr Lim Kim Hai. In this sense, I like to consider it as a prequel to "Optical Optimism". We wanted to show the public where those amazing worlds of golden and green and red apple came from. We wanted to show the evolution from the quiet and sober interiors -his early realistic works- to the bursting colourful apple explosions, their joyful and strong, blissful and expressive of his hyperrealistic late work. We wanted to share a glimpse of this journey and some intermediate steps, involving those calm, majestic apples and their colorful and decorative, highly pictural backgrounds. As different as these paintings might be, one can't but notice that there is a Leitmotif in Lim Kim Hai's work as a painter which gives this evolution its laws and coherence. It is the problematic of Harmony that guides, in my humble opinion, Mr Lim Kim Hai's artistic quest. It can seem a quite common artistic problematic, maybe not as shared nowadays as it used to be as contemporary art turned its back towards beauty, harmony and all those ancient values to conquer and explore new aesthetic grounds. But Lim Kim Hai isn't a contemporary painter - he is a modern one, which does not mean at all that his art belongs to the past. On the contrary - in my eyes, his work is a direct response to the world as it goes, and seems to me to address nowadays chaotic and worrying global situations. Lim Kim Hai's harmony used to be the Harmony of silence, of loneliness, the Harmony of the World past midnight or the one found in abandoned streets and in quiet indoor rooms. It is the Harmony of calm apples, laying atop of each other, in a 'Nature morte' setting, where their blissful colours and fascinating form enter in a visually pleasant and optical harmony. By maturing both in his life and in his art, those apples increased in size and number, they started being lifted from the ground, floating and falling like rain, they started growing as well. They got energetic, affirmative, claiming their own space and individuality. They started fighting but also assisting each other. They claimed more and more pictural space, they grow bigger and bigger and became so numerous they eventually crowded the whole paintings. Apples started as often in Art History : an occasion to paint, a convenient subject for the training of a young and passionate painter. They, quite literally, reached a cosmic, social an anthropological dimension. They were a pleasant detail of still-life paintings - now they are the sole subject, perspective, background, shape of the canvas. Their blissful explosion makes up for the whole colours the spectator gets to see. There is nothing else than apples, and yet we don't need to see anything more than apples. They are all that matters. Ironically the later works seem more energetic, bold and playful, more youthful one might say, as the early works of the master appear calmer in comparison. And yet, they are also more mature and, in one paradoxal sense, more appeasing than ever. How come that these late and cosmic visions soothe us even better than the silent ones? I think that Lim Kim Hai approached the philosophical truth about harmony, and only in truth one can dwell and be at peace. The Harmony of Lim, as he evolved both artistically as a painter and existentially as a men, integrated the complexity of the world and the human condition. Harmony isn't something that already exists and subsists by itself. Harmony means nothing if it there is no Chaos to be vanquished, no mouvements to be brought together, no affirmation of unity transcending the conflictual multiplicity. Harmony to be true has to be stronger than Chaos. Lim Kim Hai's apples, which represents people and their passions, their individuality and their shared human condition, their complex social mouvements, cooperations and competitions, are united by the ingenious compositions, the colors, the similarities they share as a great picture. Unity in diversity, and harmony above adversity is what Lim Kim Hai's latest art is all about. It was a long and rich journey which brought him where he is and where he still works today, as his artistic journey hasn't quite reached its final destination, its perfect manifestation in an ultimate painting. (It never does, which is why artists live an endless life). It has often been said that Art has a calming effect, that its mission is to civilise and to appease people, to help them reach higher purpose in life, to teach them patience, joy and wisdom in its colorful ways. In Lim's case, this is certainly true. Thank you for this, Master Lim Kim Hai. Patrice Vallette, curator & director of Vallette Gallery Constantin Beck co-curator & guest writer

    latest works

    • the Poem
      120 x 50 cm (h x w)
    • Biography
      120 x 60 cm (h x w)
    • Nead Tavallaee

      the Peculiar Box banner , 2021
      88 x 160 cm (h x w)
    • the Peculiar Box
      148 x 230 cm (h x w)
    • MUSTAFA KEMAL ATATÜRK
      100 x 150 cm (h x w)
    • Neda Tavallaee
      95 x 70 cm (h x w)
    • Neda Tavallaee

      Waiting with the cat , 2020
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      Traditional piggy bank, 2020
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      The Summer he left without the bird , 2019
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      The new eyeliner, 2019
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      The importance of ice_cream 2019, 2020
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      The beauty in false predictions , 2019
      90 x 70 cm (h x w)
      Mixed media on watercolour paper
    • Neda Tavallaee

      The absence of trees , 2020
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      Quaratine, 2020
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      Memories from somewhere, 2019
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      Lost in thought, 2019
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      In search of silence , 2020
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      Home, 2020
      90 x 70 cm (h x w)
      Mixed media on water colour paper
    • Neda Tavallaee

      Fuck off , 2020
      90 x 70 cm (h x w)
      Mixed Media on Canvas
    • Neda Tavallaee

      Fake smile for the mirror, 2020
      90 x 70 cm (h x w)
      Mixed media on water colour paper
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