• From a white void, young figures emerge, painted in Italian Renaissance style. Around them, no floor, no sky, no reality; only a few lines suggesting some drapery, but hanging above the subjects presides a large and metallic tribal sign, a glyph for a sun. Lost in a virtual realm, a realm of possibilities, the subjects are posing in a melancholic fashion. In this new collection, Jean-Louis Sabot portrays his generation, his community, his friends.

    This sign embodies the spirit of unity, of a group, as it is the most primitive form
    of acceptance.

  • The tribal sign is central to Sabot. It embodies the meaning and the possibility of a community. His interest lies in the feeling of belonging to a group, physical or imaginary. When reality disappears, the idea of the community remains.

    By representing three of his friends united in a laying scene, a calm moment without any actions involved, it's tempting to see a portrait of the artist himself in this series.

    Playing on a striking contrast between the hyperrealism of the figures and the emptiness and digital feel of what lies behind and beyond them, Sabot subverts the photo montage aesthetic.

  • The composition is thought of as a Photoshop document in which layers overlay is left visible, implicit, evoked.

    It allows me to isolate the subjects and accentuate the idea that they are mobile, just as in a collage...

    Secondly, I am interested in the volatility of the image. Nowadays, an image can exist in a number of different forms and supports. It can be printed, scanned, copied, sent, transferred, compressed, and re-sent. The image is no longer fixed, except in paint. I am interested in the dialogue between the durability of painting and the ephemeral quality of an image.