In most of Thomas Lévy-Lasne’s paintings, there are no humans, or far away, from behind, with their faces hidden. And yet, everything, in its deserted beaches, urban landscapes, details of plants, is marked by the asphyxiation of the contemporary world and by the climatic catastrophe. In the foreground of the beach, a trash can. In the streets, trash. Plants grow in the gaps in the concrete.
Her exhibition at the Les Filles du calvaire gallery also has an appropriate name: “Impotence”. The one who was born in 1980 and was trained at the Beaux-Arts in Paris is one of the voices that carry in the current panorama of creation, in particular with “Les Apparences”, his weekly show on YouTube and Twitch devoted to painting current, with an assumed tropism for the figurative.
At the Parisian gallery, Thomas Lévy-Lasne also exhibits his Distanciels, charcoal portraits of his loved ones taken during confinement. We see lost beings, gripped by doubt and instability. Humans after all, to paraphrase Daft Punk.
