Painting 

Born in 1968, Amey is a French painter. With an unconventional background, Amey has pursued her artistic work for many years, but it was only later in life that she decided to dedicate herself fully to it. She explores a wide range of subjects, all of which share a common focus on humanity, social relationships, and nature.

Her work on monochromatic seascapes reflects what the artist seeks in nature. This familiar element is brimming with softness, strength, and serenity. The lines bring rhythm to the abstract movements of the artist, allowing each viewer to interpret and make the landscape their own. We often find in her work the inspiration drawn from the coasts of the Arcachon Basin, with its tides, sandbanks, boats, and oyster farms. Amey presents the subject in a very graphic and contemporary way, using a distinctive lighting style that is uniquely hers. The work on linen canvas allows the woven texture to show through, enhancing the natural spirit of the composition. These architectural seascapes are both poetic and dynamic.

Amey, in the Words of the Gallery

What captivated us in Amey's work is the strength that emanates from each canvas, a world that speaks of humanity and its spiritual quest through seascapes, without explicitly depicting it. Amey does not define herself as an artist; she prefers to say that she paints her emotions, with the knife replacing the pen and the canvas replacing the paper. Amey often paints in reaction to events, which allows her to vary her subjects, even though her preferred terrain remains nature. It is this very work that led us to represent her; her works are a reflection of herself, with few words but with everything essential being expressed.

Raoul P.Brosseau is from Brittany (France). Perhaps you guessed it? Certainly, the Bretons have this ability to talk about what is essential to them, the ocean.  They live with the water, become one with the elements, blend into the aquatic environment. Raoul P.Brosseau has inherited a strong character from them and with the Atlantic Ocean as a backdrop, he paints childhood memories on pine lined beaches. Swimmers rewrite history, sometimes lying a little to make it more beautiful than it was.
"Water is an element where you forget yourself, where you disappear. When we swim, we are no longer just ourselves but one with it. Time no longer exists. And when you come out of it, there's still that mysterious little smile on my swimmers' faces, at once disillusioned and satisfied. »
So if Raoul P. Brosseau has always been swimming, he has also been painting since his early childhood. Drawings then paintings but it remains a pleasure of the lost hours. Raoul becomes a teacher, bookseller, journalist, press attaché, does communication, plays the ukulele in a band, writes detective stories... A busy literary and artistic life, then encouraging encounters allow him to participate in his first exhibitions. The artist will imagine this passage as follows: "as one jumps from a diving board a little too high, to realize delighted that everything is going well" the artist then devotes himself fully to the painting that has accompanied him all his life.
His work revolves around mixed media, acrylic. A mixture of flat and relief, bright or gray colors. Contrast is one of the keys of his expression, like a shift that you don't expect.
Today, for less than ten years, Raoul P. Brosseau has participated in many artistic events, has exhibited in several galleries, particularly in the west of France.
And Raoul P. Brosseau is happy.

Words from the gallery about Raoul P.Brosseau

Raoul P. Brosseau contacted me by email during the period of confinement, a good time to think and start new projects. I discovered with great pleasure his element, his universe and this nascent perplexity in front of his works. I liked it very much but I did not give an immediate answer as the period was not really suitable for the integration of a new artist. One week later Raoul P. Brosseau called me, I felt a joy of life, a complete and complex journey and a real desire to establish a relationship of trust. The decision was made immediately and despite this period that was nailing us to the house, we wanted to start this new collaboration without delay while waiting to meet each other.

2020, exhibition

After intensely exploring the expression of what could be most raw, most deeply wounded within himself and humanity, Benjamin naturally embarks on a new path, focusing on other bodies or faces, revealing their full power through a contrast of depths and lightness, of pictorial precision and spaces of the imagination. The Bouillon d'art gallery represented Benjamin Carbonne for 7 years. The Bouillon d'art gallery represented Benjamin Carbonne for 7 years. This work is a remarkable piece, Benjamin Carbonne only exceptionally working with women.

last painting available in the gallery Bouillon d'art

Born in 1980 in Lille, Hellen Halftermeyer did not first consider sharing her artworks as an artist, as if the mere fact of living her life was in itself an artistic act rather disheveled and often unconventional.

Not long ago, it clicked, doing Art of Living was no longer enough, she now concentrates her creative energy on the creation of sensitive works in which the human figure is preeminent and more recently the animal world and in particular the birds that she enjoys observing every day.
No matter the medium, there is a closeness in the way she paints and carves. Expressionist deconstruction of academic codes, sometimes furious, emanates tension and emotion.

Hellen Halftermeyer : The gallery's words

We discovered Hellen Halftermeyer's paintings in 2017. The  aroused emotions were so strong that we quickly contacted the artist. After some interesting exchanges about her very personal approach to painting we were convinced to present her work in the gallery. A first meeting with the artist, followed a few months later by an artistic proposal, gave meaning to our future collaboration. In April 2018, the first paintings of Hellen arrived and it was a real pleasure to discover these works of extreme sensitivity. Hellen joins the artists of the gallery and brings a feminine touch, mysterious, deep, to the intense work already presented in gallery. In perfect harmony with the spirit of the gallery we follow her work with great interest.

Michel Lagrange wrote a poem "Mysterious" inspired by a work by Hellen
"Appearance passage between two of life
Moving universe
Spiritual stained glass
Without the partitions of a low-level lead
In this great ocean dream
A woman's impression evanescent
Emerge ... "

Discover 2023 exhibition

Discover 2019 exhibition

Entering LINE.C’s world means traversing layers — layers of color and varnish, clay and pigment, but also layers of time, body and emotion. Since the very beginning, the artist from Rennes, born in 1977, has placed the face and the gesture at the heart of her research, seeking in the human being a territory where what escapes can emerge — the uncontrollable, the tremor, the crack in the mask.

Trained at the Rennes School of Fine Arts (1996–2000), she very early explored photography and video. Her “non-mask” series — bungee jumpers captured mid-air, then exposed onto canvas — reveals a fascination for those moments when expression bursts out raw, without filters. In parallel, she develops a pictorial practice on canvas nourished by dripping and by the gestural energy inherited from Pollock, but redirecting that aesthetic toward an interrogation of the face as a porous surface, a shifting mask, a projection space for the unconscious.

A formative journey to Africa led her to discover the power of natural pigments and the question of métissage. Her first androgynous faces, exhibited at Dak’Art 98 and then at Femin-Art in Germany and Belgium, already testified to a cosmopolitan universe attuned to dialogues between techniques and cultures. In 2004, the poster she created for the Transmusicales de Rennes inscribed her research in the public sphere and confirmed the aura of an artist able to let her visual vocabulary circulate between artistic and urban scenes.

But it was in 2008 that LINE.C took a decisive turn: the discovery of lacquer. She waited seven years before contacting master craftswoman Isabelle Emmerique, who would train her in European lacquer, a three-hundred-year-old tradition whose gestures draw from China and Japan. In this slow and demanding medium, the artist found the ideal place for a dialogue between technical rigor and inner vibration. Varnishes and pigments are laid down in successive layers, feeding each other, creating unprecedented depths where light seems to circulate from within the material itself.

This technical mastery is anything but a retreat. On the contrary, it opens LINE.C to an experience of extended time, where each layer becomes a breath, a meditative interval. This dimension deepened in 2018 during an artist residency in Longzhou, China. There she discovered calligraphy with master artists and learned to consider the line not as a mark but as a respiration. The notion of “breath,” essential to East Asian thought, now irrigates her gesture: the entire body participates in the act of painting, ink or pigment extending the inhalation and exhalation, the writing becoming almost choreography.

From this experience arose her “imaginary writings.” Neither alphabet nor calligraphy in the strict sense, they constitute a plastic language where the unconscious and emotion outweigh intention. The artist begins by transcribing her inner states, then frees herself from them to allow semi-abstract or figurative forms to appear, as if emerging from a mental hinterland.

In her recent works, the face remains but sometimes fragments, dissolving into the material only to reappear anew. Pigments, lacquers, oils and calligraphic gestures intertwine to build interior landscapes where the human is no longer just a subject but a texture, a rhythm, a flow. Abstraction and figuration do not oppose each other: they coexist, respond to each other, slide into one another like the layers of varnish she patiently superimposes.

Contemplating a work by LINE.C thus means accepting a double journey. A sensory journey first, into the thickness of the material: reliefs, inlays, transparencies that reveal themselves slowly. An inner journey next, into the space of emotions and archetypes: mixed faces, unknown writings, traces of breath. Her paintings and lacquers offer an experience of slowing down in a world saturated with instantaneous images; they invite us to take the time to observe, to enter the density of pigment and light, to listen to what the hand has inscribed in the silence of the gesture.

LINE.C’s work thus stands at the confluence of multiple heritages — Western gesturality and Eastern slowness, traditional techniques and contemporary questioning — to invent a profoundly singular pictorial language. She reminds us that beneath the layers of the mask there is always a breath, a writing, a face.

The Gallery’s Words: LINE.C

I discovered LINE.C’s work in 2018 and was immediately captivated. The delicacy, the lightness, the movement, and the energy were simply incredible. At the crossroads of eras, the artist guided me toward her spirituality and inner world. Seven years later, we are reconnecting, and to my great delight, we have agreed to present her work in Bordeaux—work that, I am convinced, will touch you deeply.

Kurt Mair : The gallery's words

Manat : The gallery’s words

Born in 1964 in Montélimar, Pascal Marcel is a self-taught artist. He began his first exhibitions in 1980. It was in 1993 that he decided to dedicate himself entirely to painting and moved towards abstract work. He definitively embraced figurative art during his 5-year stay in Mexico, where he participated in numerous exhibitions. He returned with a plethora of vivid and warm colors. Emotion lies at the heart of Pascal Marcel's work. His canvases do not lie, but act as a mirror where we are free to add our own story and experiences. Initially, the artist faithfully depicted scenes of real life with touching honesty, portraying humanity with admirable tenderness. His works reveal the faces of the night, the wounded of life, the lost souls of early mornings, but also the joy of childhood and the simple pleasures of everyday life. Then came the Covid period, during which the artist retreated into his studio, and a new message emerged in his work: birds in the sky, more abstract and distant characters began to appear. It is with this mastery of the abstract that Pascal takes us on a journey into a new vision of the world. The palette shifts, nuances, but tenderness and emotion remain ever-present. In Pascal's work, each painting is a composition of abstract paintings that merge together to form a unified whole.

Pascal Marcel : The words of the gallery

I discovered the works of Pascal Marcel a few years ago on a show. The extraordinary palette of colors holds the attention, then the magic operates. A great sensitivity, scenes of daily life, tenderness, curiosity, everything is mixed in us and the look continues to be lost in the work.
It took more than 6 years for us to finally meet and make you discover his work.
Sincere and very kind, the artist reveals a part of him through a prism, situations put in paintings that question us. We invite you to dive without restraint into the world of Pascal Marcel.

Tony Masschelein : The gallery's words

Born in Paris in 1972, Virginie Mézan de Malartic grew up in an environment rich in creative influences, directly inherited from her architect father and decorator mother. From a very young age, she devoted her free time to drawing, immersing herself in visual universes that would later shape her work. Two iconic pieces, The Magpie by Monet and The Woman with Blue Eyes by Modigliani, sparked her interest in painting and defined the central themes of her art: light, elegance, and mystery.

Interior Scenes Full of Poetry and Depth

Virginie Mézan de Malartic specializes in figurative painting, focusing primarily on interior scenes where every element seems steeped in history. Her compositions, like the one visible in Haven of Peace, are characterized by their theatrical ambiance: elegantly drawn curtains, rich colors, and soft light caressing abandoned objects, suggesting a story suspended in time.

In her recent works, characters sometimes disappear, yet their presence is subtly implied through clues left behind: a neglected book, a draped fabric, or an architectural detail that draws the eye. Absence becomes a narrative space, inviting viewers to imagine the past or future of these emotionally charged settings.

Mastery of Technique and the Quest for Light

Oil painting, applied with a palette knife in successive layers, lies at the heart of Virginie Mézan de Malartic’s artistic approach. This technique allows her to craft textures and transparencies with rare precision, giving her canvases an almost tangible depth. Chiaroscuro, omnipresent in her work, enhances the composition by playing with contrasts between shadow and light, further enriching the intimate and mysterious atmosphere of her scenes.

An Artist Recognized on the International Scene

In 2004, Virginie decided to fully dedicate herself to her passion for painting. Since then, she has exhibited her work in prestigious venues such as the Salon Art en Capital at the Grand Palais in Paris and the Pierre Cardin Space. Her paintings, displayed in galleries across Paris, Brussels, and London, captivate an international audience with their refinement and sensitivity.

Virginie Mézan de Malartic does not merely paint interior scenes: she composes fragments of life, open-ended stories where every detail invites reverie. Blending elegance and mystery, her painting captures the very essence of timeless beauty.

The Words of the Gallery, Virginie Mezan de Malartic

I had been following Virginie’s work for several years. I remember being captivated by her use of chiaroscuro, both at an art fair and in galleries representing her, particularly by her depictions of interiors devoid of human presence. Then, at just the right moment, a proposal from her agent convinced me. I am delighted to share with you this soothing, introspective, and meditative universe.

After looking for his own path for a long time, Nicolas Monjo discovered painting at the age of twenty. Selfthaught, he developed his own technique  and allows him to play with the medium, offering a very personal style. The human figure is at the center of his work. His subjects often evolve in fantastic univers, and are not without any resemblance to the society and the world around us.
The characters are locked up, crushed by the frame of the painting, they present a difficulty which makes us leave our condition, of the transcendence, in a violent and anxiogenic society which does not always allow us to break free. The "dominant / dominated" relationship is often evoked and the recurring figure of fish here is the ultimate expression. A soft and dark color palette creates a unique atmosphere, the bestiare evolves from year to year. Today Nicolas Monjo has integrated very beautiful collections and his work has been noticed by art critics.

Nicolas Monjo : The words of the gallery

Nicolas Monjo contacted  the gallery to present his artworks. I immediately perceived his technicality and went straight into his world. Seduced by the subject and his vision of the world, his artworks touched me. The first encounter with the artist, friendly and simple, achieved to convince me. Nicolas Monjo is genuine and sincere in his work, he does not really explain what led him to paint but recognizes the absolute necessity to create. With a true artistic soul, he prefers to stay in his studio and let others talk about his work. Nicolas brings a different touch in the gallery and joins the artists with a marked identity and a beautiful personality.

Thomas Reheisser : The gallery’s words

Marcos Rodrigo: A Journey Through Tradition and Modernity

Born in Old Castile in 1957, Marcos Rodrigo grew up in an environment steeped in tradition. At the age of 4, his family moved to a small village in the Lot region, where he discovered the raw beauty of the natural landscapes and materials. Influenced by his father, a sculptor and craftsman, he was introduced early on to the art of shaping wood and stone, developing a profound sensitivity to textures and materials.

As a teenager, he refined his talent for drawing, finding solace in visual arts during his years in boarding school. The solitude of this period fueled his imagination, allowing him to explore the connection between line and emotion.

In the early 1990s, after several transformative journeys across Europe, Marcos Rodrigo began working with oil painting. A passionate autodidact, he drew inspiration from diverse sources: the grace of Italian Madonnas, the vibrant palettes of the Impressionists, the strength of Spanish painters, and the intensity of German Expressionists. These influences converged into a personal style that seamlessly blends classicism and modernity.

An active member of "Arts et Lettres de France" and "Artistes Indépendants", Marcos Rodrigo has been exhibiting his works since 1993 in individual exhibitions and salons across France and abroad, earning a prominent place in the contemporary art scene.

The Feminine Portrait: The Core of His Artistic Universe

At the heart of Marcos Rodrigo’s artistic expression lies the female portrait, which occupies a central role in his oeuvre. His depictions of women, at times enigmatic and at others expressive, convey a restrained sensuality. They reveal themselves in fragments, often protected by introspective poses or symbolic accessories that obscure part of their essence.

In his works, the women appear both near and unreachable, captivating the gaze yet never fully surrendering to it. This subtle tension creates a fascinating dialogue between the canvas and the viewer, where personal emotions and reflections intertwine.

Between European Tradition and Urban Vitality

While deeply rooted in European pictorial traditions, Marcos Rodrigo integrates a modern vitality into his works that evokes the energy of street art. His bold brushstrokes, layered textures, and material effects resemble urban walls weathered by time and marked by spontaneous artistic interventions.

Today, Marcos Rodrigo continues to captivate audiences with the richness and depth of his work. His portraits delve into the complexities of the human soul with rare intensity. Each canvas invites contemplation, merging intimacy with universality.

Marcos Rodrigo does not merely depict his subjects; he unveils their essence, offering viewers a visual and emotional experience like no other.

Marcos Rodrigo: The Words of the Gallery

I was familiar with Marcos' paintings and sculptures through my colleagues, and then Paul, his agent, introduced me to his latest works— even more expressive, with a powerful movement, a liberated gesture, a refined palette, and a breath of modernity, strength, and femininity, a subject he masters so well. I was inspired to represent his work in Bordeaux and to draw from his energy.

Marcos, speaking about this latest body of work, describes it as a moment of maturity and a newfound freedom finally expressed.

Christophe Ronel was born in 1964 in Rouen, Normandy. In a city imbued with painting, he had the privilege of growing up alongside his father, the landscape painter Marcel Laquay. Thus, from a very young age, Christophe Ronel absorbed this medium which he would never abandon. At the age of 10, he began to showcase his first paintings, and by 14, he was participating in collective exhibitions at the Rollin Gallery in Rouen, which also exhibited his father’s works. Then, at 17, the gallery offered him his first solo exhibition, an event Christophe speaks about with great emotion.
His exhibitions unfolded naturally, from Parisian salons to the Salon des Artistes Français at the Grand Palais, where he won the Gold Medal and the Grand Prize in 1993. Subsequently, his encounter with Suzanne Tarasiève, a prominent gallerist from Barbizon, proved to be decisive, marking the start of a collaboration spanning over 18 years.
An agrégé in fine arts, Christophe Ronel has also been teaching since 1990 at the École Nationale Supérieure des Arts Appliqués et Métiers d'Arts Olivier de Serres in Paris. The artist divides his time between his studio, the school, and travel, a rich combination that complements each other and serves as a source of inspiration.
Christophe Ronel began with landscape painting under the guidance of his father, then his work gradually traversed the influences of Fauvism, Expressionism, and the CoBrA movement, all under the influence of the free figuration of the late 1980s. From the early 1990s to 1993, large formats appeared, art brut came into play, the palette narrowed, and writing made its entrance, a path began to take shape. From 1993 to 1994, underlying figuration resurfaced but in a different way, and writing evolved. It was in the mid-1990s that the “Ronel spirit” took form, an artistic style nourished by travel, literature, and encounters. The artist would say that "the ultimate goal remains painting," with subjects posed, everything is yet to be done. Thus began a work of internalization, interpretation, and recomposition to recreate an artistic whole where narration takes the lead.
Christophe Ronel loves to be surprised, to seek out possibilities, to explore new compositions, to make shifts. He blends places, cultures, objects, everything is infinitely reinvented. What is less known is the importance of literature and words, which are inseparable from the creative process for the artist. The story continues from painting to painting, even incorporating the title of the work into the heart of the material. Books hold great importance; Christophe spontaneously cites "Invisible Cities" by Italo Calvino, "My Name is Red" by Orhan Pamuk, as well as the literature of the Maghreb and Japan, entire worlds to discover, cultures to explore, words and calligraphies to master.
For over thirty years, more than one 120 solo exhibitions have been dedicated to him, both in France and abroad, in galleries, cultural centers, and museums in Paris, Lille, Amiens, Le Touquet, La Baule, Rouen, Barbizon, Brest, Chartres, Grenoble, Lyon, Montpellier, Nice, Saint Jean De Luz, Saint Malo, Brussels, Casablanca, Marrakech, Sousse, Hanover, Palm Beach, Singapore, and Tokyo. His paintings have notably been exhibited at the Château de Vascoeuil, the Abbey of Cercanceaux, the Palais Bénédictine of Fécamp, the Hôtel de Région in Rouen, the Archives of Chartres, the General Council of Seine Maritime, the Brittany Ferries collection, and at museums in Nice, the Bourdelle Museum in Paris, the Postal Museum in Paris, the Fine Arts Museum in Le Havre, Louviers, Châteauroux, Chartres, Brive, Aix-en-Provence, Girona, Sarajevo, Shanghai, the Art and Culture Center in Taegu, Korea, the Museum of Sarria, Spain, in Japanese museums in Matsumoto, Fukuoka, Nagano, the International Forum in Tokyo, the Aoyama Spiral Hall in Tokyo, the National Museum of China in Beijing, and the National Chinese Museum in Tianjin, as well as the National Museum of Taiwan.
Collections:
• Musée de Nice
• Fondation Compagnie Générale des Eaux
• Ville de Boulogne-Billancourt
• Conseil Général de Seine Maritime
• French Cultural Centers in Casablanca and Marrakech
• Museum of Sarajevo
• Brittany Ferries Company
• Cap Gemini
• Fondation Plage pour l'art
• Liquitex Laboratory, Le Mans
• Musée Daubigny, Auvers sur Oise
• Fondation OVALTO
Private Collections: France, Belgium, Netherlands, Germany, Austria, Switzerland, Italy, Morocco, Lebanon, United States, Mexico, Australia, Brazil, China, Singapore, Japan, United Arab Emirates
Awards and Commissions:
• 1991: Prix Arletty, selected for the endowment
• 1992: Invited to the Grand Prix of Contemporary Art, Monaco
• 1993: Gold Medal and Grand Prix at the Salon des Artistes Français, Paris
• 1994: Selected for France-Japan, exhibited in 12 cities in Japan organized by L’Oeil magazine and Nippon Television
• 1998: Commissioned to paint the “Jules Verne Trophy” for Cap Gemini, Paris
• 2004: Rugale Michailov Prize from the Taylor Foundation
• 2010: Guest of Honor at the Vincennes Salon
• 2012: Invited to the Biennale Off, Park Hyatt, Al Maaden Golf - Marrakech
• Monumental works at the Marrakech Biennale, headquarters of the Alliances group, Casablanca
• 2014: Guest of Honor at the Salon des Artistes du Marais - Mairie de Paris - 4th arrondissement
• 2015: Guest of Honor at the Puls’Art Festival - Le Mans
• Created a 40 m² ceramic mosaic mural for the Moroccan Ministry of Culture - Historical Documentation Center of Essaouira
• 2018: Invited to the Kunst Doc Contemporary Art Festival in ULSAN - South Korea
• “Tribute to Marcel Duchamp” - Homage to the Norman ready-maker - Galerie de l’Hôtel de ville, Rouen
• 2022: Adolphe Gumery Prize from the Taylor Foundation awarded to a traveling painter

Christophe Ronel : Words from the gallery

It was 15 years ago, and I haven’t forgotten. While visiting the Lille Art Fair, I discovered Christophe Ronel’s paintings around a corner. Intrigued, I approached and entered this dreamlike world, losing myself in it. All my comings and goings brought me back to his work. Fifteen years later, and to my great delight, we are finally working together. It is an emotion as fresh as the first day that I wish to share with you.

Expressionist artist, Joëlle Rousselet is a link revealer. Her work highlights what unites man and nature. « It’s a Landscape of souls where a score is played, at once mineral and organic, human and animal ». To look at his characters and faces are at the same time material, temporality and history. Like the archaeologist discovering the human remains that reveal his history to the world, the viewer delights in this plunge into the source of life. Joëlle Rousselet paints the connections, the movement, the molts. It plays an emotional back and forth between the elements of nature and its creations, a way to connect with the « living ». Joëlle Rousselet has integrated very beautiful collections and regularly has very beautiful press articles by art critics.

Joëlle Rousselet : The gallery's words

I discovered the paintings of Joëlle Rousselet during an art Fair in 2020, She was exhibited by a colleague whose artistic sensivity I appreciate. Immersed in the « soul » of one of her paintings exhibited I had the chance to meet the artist. Joëlle has a great sensitivity and humility, and she speaks of her work with great simplicity and reserve. In 2021 Joëlle joins the artists of the gallery !


2022, exhition

the gallery's words