🎪 Événement
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Exposition
Exhibition
Événement culturel
Florilège #4, autoportraits aux fleurs
📅 May 22 – Jul 26, 2026
📍 Au Jardin Fleuri, atelier Galerie, 58140 Lormes
À propos
From 22 May to 26 July "Florilège #4" in Lormes. Self-portraits with flowers" exhibition:
Aîlot, Nathalie Bitan, Sam Choo, Taco Deneuve, Benoit Di Marco, Stella Goldschmit, TEHEF, Katrin von Egidy
Group show with :
Aîlot, Nathalie Bitan, Sam Choo, Taco Deneuve, Benoit Di Marco, Stella Goldschmit, TEHEF, Katrin von Egidy
Each year at the Au Jardin Fleuri studio/gallery, we aim to present an anthology of artists united around a common theme: the self-portrait.
In a nod to the history of the place - a former local florist - we've added a poetic variation: "self-portrait with flowers".
For some of our guests, this is new territory, a new exercise. For others, self-portraiture is at the very heart of their artistic approach. In all cases, this invitation opens up a space for dialogue between the way we look at ourselves and the visual language we choose to express it.
Long considered a minor genre in the history of painting, the self-portrait was first and foremost a technical exercise: representing reality from the most available, most intimate model - oneself. This is how we find many artists depicted in their studios, brush in hand, as in Rembrandt, Dürer and Velázquez, who painted himself in the heart of Las Meninas, already raising the question of the gaze, the viewer and the painter's place in the act of creation.
With Romanticism, the self-portrait became a place of exaltation of the self, echoing Rousseau's philosophical questions about autobiographical sincerity and the subject as the centre of perception of the world. Closer to home, Frida Kahlo transformed the figure of the artist into a fragmented icon, embodying pain, memory and resistance; Cindy Sherman, for her part, deconstructed identities through masks and disguises, showing that self-portraiture can also be play, disguise and social criticism. With Gilbert & George, self-portraiture became performance and fusion, where the artist duo became one with the image.
The advent of photography and then digital technology has radically transformed the way in which self-representation takes place. The 'selfie', often mocked, is nevertheless an extension of an ancient quest: how to show oneself, to whom, and in what truth? As Michel Foucault wrote, following in the footsteps of the Stoics, attention to oneself (epimeleia heautou) is already a philosophical gesture, a mode of knowledge, even a political act.
For the self-portrait is more than just a simple likeness. It questions the relationship between image and identity: what do we want to say about ourselves? What part of the self escapes us, or reveals itself in spite of ourselves? Between mirror and mask, the self-portrait stands on the edge of truth, fantasy and dream - sometimes the unconscious, as surrealists and psychoanalysts have pointed out. So, far from being purely narcissistic, this gesture of self-figuration can become a territory of inner exploration, a theatre where the artist plays, searches, loses himself and sometimes finds himself.
Finally, by linking this introspection to flowers, we are offering artists a symbolic resonance: flowers as decorative motifs, of course, but also as signs of vanity, memory and ephemerality - what 17th-century painters called memento mori. Perhaps, in its own way, flowering its self-portrait is a way of engaging with beauty and transience, of giving shape to what is passing.
Stella Goldschmit, May 2026
Opening on Friday 22 May at 6pm
Aîlot, Nathalie Bitan, Sam Choo, Taco Deneuve, Benoit Di Marco, Stella Goldschmit, TEHEF, Katrin von Egidy
Group show with :
Aîlot, Nathalie Bitan, Sam Choo, Taco Deneuve, Benoit Di Marco, Stella Goldschmit, TEHEF, Katrin von Egidy
Each year at the Au Jardin Fleuri studio/gallery, we aim to present an anthology of artists united around a common theme: the self-portrait.
In a nod to the history of the place - a former local florist - we've added a poetic variation: "self-portrait with flowers".
For some of our guests, this is new territory, a new exercise. For others, self-portraiture is at the very heart of their artistic approach. In all cases, this invitation opens up a space for dialogue between the way we look at ourselves and the visual language we choose to express it.
Long considered a minor genre in the history of painting, the self-portrait was first and foremost a technical exercise: representing reality from the most available, most intimate model - oneself. This is how we find many artists depicted in their studios, brush in hand, as in Rembrandt, Dürer and Velázquez, who painted himself in the heart of Las Meninas, already raising the question of the gaze, the viewer and the painter's place in the act of creation.
With Romanticism, the self-portrait became a place of exaltation of the self, echoing Rousseau's philosophical questions about autobiographical sincerity and the subject as the centre of perception of the world. Closer to home, Frida Kahlo transformed the figure of the artist into a fragmented icon, embodying pain, memory and resistance; Cindy Sherman, for her part, deconstructed identities through masks and disguises, showing that self-portraiture can also be play, disguise and social criticism. With Gilbert & George, self-portraiture became performance and fusion, where the artist duo became one with the image.
The advent of photography and then digital technology has radically transformed the way in which self-representation takes place. The 'selfie', often mocked, is nevertheless an extension of an ancient quest: how to show oneself, to whom, and in what truth? As Michel Foucault wrote, following in the footsteps of the Stoics, attention to oneself (epimeleia heautou) is already a philosophical gesture, a mode of knowledge, even a political act.
For the self-portrait is more than just a simple likeness. It questions the relationship between image and identity: what do we want to say about ourselves? What part of the self escapes us, or reveals itself in spite of ourselves? Between mirror and mask, the self-portrait stands on the edge of truth, fantasy and dream - sometimes the unconscious, as surrealists and psychoanalysts have pointed out. So, far from being purely narcissistic, this gesture of self-figuration can become a territory of inner exploration, a theatre where the artist plays, searches, loses himself and sometimes finds himself.
Finally, by linking this introspection to flowers, we are offering artists a symbolic resonance: flowers as decorative motifs, of course, but also as signs of vanity, memory and ephemerality - what 17th-century painters called memento mori. Perhaps, in its own way, flowering its self-portrait is a way of engaging with beauty and transience, of giving shape to what is passing.
Stella Goldschmit, May 2026
Opening on Friday 22 May at 6pm