‘Still Life’

Miyuka Schipfer

Miyuka Schipfer spent her period of confinement in her Paris apartment where she would record, in the form of a visual diary, the simplicity of daily life. Her drawings focus on the ‘real’: the subtlety of a moment in which you are fully present, and the strength of the memory that attaches itself to it. The still life drawings become a pretext for a meditation on the fragility of passing moments; a simple materialist observation of the beauty of reality. 

‘Confined City’

Caroline Anezo

‘Diary of a bed’

Delphine Bereski

I got sick the day before the lockdown in Paris. I stayed three weeks in quarantine, including two bedridden. while lying in my bed, I wrote a litany which inspired me this series of polaroids. The series recount the story of these bed and body during those 14 days.

‘Everyday is Like Sunday’

Nicolás Olivares

‘Rear Windows’

Lalita Chant

The constellation of light projected around the neighbourhood was a comforting site. At night, the luminous windows gave me a sense of togetherness.

‘Insanity’

Ikkyu Rei

Ikkyu Rei's interest in the representation of the history of confinement through art, led him to become interested in the illustrations of the second half of the 19th century by the French engraver Ambroise Tardieu.

The analogy of these images, with the current epoch of forced confinement and the psychological questions that arise, appeared to Rei as a particularly revealing insight of the struggles that many people are experiencing during this unprecedented time. Thus he gives us a parodic version of these pictures. Ikkyu Rei decided to make a small series because it carries within it the idea of declination of perceptions, of the different ways in which each one could psychically live this confinement.

‘Confined’

Théophile Bouchet Galliano

Théophile Bouchet Galliano spent his time in confinement solo, and was kept busy and inspired only by his own thoughts and emotions, while unable to fully share this with others. It seemed natural to him then, that the self portrait was the most accurate way to represent his understanding of himself in this extraordinary moment. So he began putting these down on paper.

For Bouchet Galliano the self-portrait expresses the simple idea of a moment of introspection, of a look at oneself. We can see the self-portrait as a simple but necessary distancing of oneself by the artist, so the paper becomes a mirror of his psychological states of mind. Because of its status as a reflection, there is something morbid in the self-portrait that emphasizes the fragility of the image itself. Théophile Bouchet Galliano uses himself as the subject as a way of dealing with the irremediable, conjuring visionary madness and romantic despair. He plays with the history of the self-portrait, which has often been conceived as an outlet for fantasies of mutilation, martyrdom through identification with Christ, or as a representation of carnage and destruction: a privileged and recurring image of madness and death.