Elsa-Louise Manceaux

Welcome to my World. This page presents a selection of works realized since 2008.
For further exchange, feel free to drop a line or two.

hello@elsalouisemanceaux.com

Curriculum Vitae I
Curriculum Vitae II

Selected works 2013 / 2018

    A duo-show presented by Lodos Gallery and taking place at Ruberta in Los Angeles, proposing a dialogue between the drawing archives of artist Diego Salvador Rios and my own. The wall panels –a series called ‘totems’– shown in the exhibition constitute four compositions made of drawings that I realized between 2012 and 2018, meanwhile the drawings and recollected pieces of Salvador Rios were displayed on a platform and mounted on cables – the latter allowing both of our works to blend in together as you’d walk through the space alongside changes of perspectives.

    Solo exhibition at Diablo Rosso, Panama, 2017

    The exhibition proposed an alltogether mix of ‘pictorial moods’ in which different ‘qualities’ entered in discussion. The group was displayed on top of a wall intervention that suggested a ‘ghost exhibition’ – an anonymous curatorship of male painting masters that could accompany the presented pictures with their own dimensions.

    Installation, Painting, 2016

    Facing the problematic of exhibiting on an Island, the 170x138cm egg-tempera painting ‘Gordo y Rojo’, originally conceived for the situation, was placed against a window, on the 46th floor of the Bancomer Tower in Mexico City. The painting could be seen from far, and ideally through a telescope placed on the Island, on the 12 of November 2016.

    1. Exhibition at Yautepec Gallery in Mexico City, curated by Brett Schultz and Francisco Cordero-Oceguera, proposing a duo show between my work and a sculpture’ series by artist Jordi Boldó (b.1950)

    For this exhibition, I presented 11 egg-tempera paintings from the ‘Playground Series’, all 43x35,5 cm.

    Solo exhibition at Bikini Wax project-space in Mexico City, 2015

    ‘Painting Problems’ proposes a painting show within the spaces of Bikini Wax. To paint is a problem: of size, colors and materials. It’s an image problem: you have to erase it all, and start all over again.
    Bikini Wax is also a problem. In spite of the good vibe, there’s dirt, sweat and a few light.
    And things. Lots of things. In a place where artworks must deal with elements of daily life and all kinds of conditions, the canvas are faced with museografical problems that are evident. So… How to show paintings in a place usually fit for gestures?
    Painting problems looking for solutions, maybe a vision, or the recourse to a specific way of mounting.
    We will see what results of the problems and eventually, we will see what will be the consequences… In Bikini Wax, painting problems are also living problems.

    About 42x35cm each, gouache, color pencil and pastel on paper.

    Selection of drawings thought between May and December 2015, differently made after my personal observations of news, headlines, the streets, and my twisted mind.

    Polyptic of 24 drawings, ballpoint pens BIC® on Bristol paper, 27,9 x 35,6 cm e/o, 2014

    In The BIC Journey , I have used ballpoint pens BIC® (generally used for common writing, in offices, schools, etc.) to draw from a selection of comic strips of ‘Krazy Kat’, realized between 1925 y 1931 by the author George Herriman, first author de comics whose work’s been recognized as an important influence in the visual arts, marking the works of artists of his time til today.
    In The BIC Journey, the narrative as well as the structural elements (characters and landscapes, grids and speech bubbles) have been abstracted through an analogue technique of ‘fogging’ the original images, leaving the hand free of tracing new forms, perceived through the drawing process. Hence the graphic language establishes a possibility of reading signs of drama and traces of humor within abstract compositions, and ultimately proposes a 24h visual journey of the mind, through the standard colors of a mass-produced, industrialized tool.

    I’m sharing with you a selection of drawings and paintings made through 2014, year in which I started working with the concepts of narrative and structure, synthetic drawing and visual abstraction and the question of humor within artistic practice — all of it being directly influenced by certain references of comics and press caricatures.

    Etchings in aquatint on paper (‘Bridges and their Flows’ series), 50x65 cm, 2013

    The project 'Contracts between us' explores the formats and symbols used when exchanging information and status, here with the case of european money bills, taking them out of context and abstracting design language.

    Video HD, sound, 8:04 min, 2014

    Titled after the term ‘Reality TV’, the work Reality Comics uses as a medium the system of security-cameras from an art institution (Muca Roma in Mexico City); to convert them into ‘narrative structures’, with the aim of introducing a formal fiction within them. The actions of the people present in the video gather a series of repetitive movements, like patterns, such as lines, curves, dots and circles, tracing an eventual relation with a drawing practice. Ultimately, this video proposes a time-based comic, rooted in the reality of the institution.

    Etchings in aquatint and engravings on paper (‘Honest People’ series), 50x65 cm, 2013-2014

    This series explores the standard sizes and formats as well as the symbols used when exchanging information and status: money bills, business cards, credit cards etc., taking them out of context and abstracting design language.

    HD video, 5:06min, 2013. Collaboration with Balthazar Berling. First screened at BytheWay Projects, Amsterdam.

Selected works 2009 / 2012

    Photographic series of 30 photographs, c-prints on Duratrans, light-boxes, dimensions
    variable, 2010-2011.

    Photographs made from ephemeral installations, displaying contents of glasses facing contents from books, proposing a relation between nature and its reproduction, between the object and the image.

    Sculpture, in collaboration with Corina Kunzli, 2010.

    Having been manufactured together, purchased, then separated, 60 pairs of second-hand pocket books are brought back together in one same space. Each pair is dated from the same year of publication.

    Installation of a slideshow projection constituted of 16 photographs, dimensions
    variable, 2009.

Artist books & publications

    Yearly publication, 40 pages, free distribution, 26,5 x 17,2 cm, 2014-Ongoing

    Caniche is a publishing project –so far counting 3 editions– based on comics and the media’s narrative structures in relation to humor and abstraction. Around 25 international artists are invited for each issue, and each one responds to the use of different grids that I invent, edit and propose to each of them. The practices of the contributing artists vary from drawing, sculpture, painting, to video, installation, graphic and immaterial art. Ultimately, the launch consists in a performance involving some of the participants. Further information about the project can be found on www.revistacaniche.com

    Artist book, 21,5x14cm, inside offset and silkscreened cover, co-published with CaritaFeliz☺, edition of 200, 2012.

    Artist book in collaboration with Aline Weyel, 21x29,7cm, offset color, printed first in 2 copies, edition on demand, 2012.

    Made in the context of the exhibition ‘Life-Still’ at Teto Projects (Amsterdam, 2012)

    Photographic series and artist book, 17x26cm, color and b/w laser printed,
    edition of 30, 2009.

    Photographic observations revolving around the forms and contents of books, later applied in the context of a publication, causing a sensation of alienation effect (aka distancing effect).

    Artist book, 26x18cm, 96 pages, laser-printed in color, 2008.

    A catalogue grouping a collection of my “works” made from early age to the present; offered and displayed at family and friends. A series of articles discussing the value of artworks in a domestic context accompanies the documentation.
    I like to think about this book as an object being re-edited and re-published every X years, as I won’t stop leaving my traces around.