Artist born in 1986, lives and works in Paris.

More than the precision of the drawing, it is the scientific aspect that fascinates the discovery of the world of Delphine Moniez. It may recall that of the anatomical plates of the 19th century, with the difference that the bodies she dissects there are terrestrial. Carnivorous landscapes that devour the atoms of matter, the thirty drawings brought together in the exhibition invite you to challenge

common sense, blurring our perception of space and time. If it is so difficult to situate the worlds that she unfolds there, it is primarily because the artist empties them of human presence, preferring the illusion of a dreamed Earth.

Like an engraver, Delphine Moniez digs and incises the epidermis of the paper. Right here,
neither scalpel nor knife, but a sharp stroke of a pencil. Several drawings bear the trace of a tiny ball, a floating body that could just as easily refer to the shell of a (primitive?) egg as to that of a star or a floating ovum. The artist plays around this notion of earthly fertility:
the cord that connects certain pieces of rock could be the umbilical, while the cave – a recurring motif in his work – could be the belly of the Earth. Anthropomorphized, his “slices of landscape” are more like the anatomy of a mental landscape, an intuitive translation of the primitive forces of rock, than the reproduction of a reality.

Nothing plausible, smooth and flattened here. At the sight of these fragmented landscapes, something escapes reason: the scales are distorted, the architecture impossible. The characters of this world are insoluble geometric shapes: isosceles triangles, polyhedrons of Dürer, solids of Plato mingle with the rocky architecture of an elsewhere. It is this aspect that gives
to the work of Delphine Moniez a very particular dimension: at the crossroads of sacred geometry and the living organism, it encourages us to question the classic limits of perception. It also recalls the long time of geology, the process of rock stratification which densifies as time goes by. What the artist tells us, in his attempt to give form to the elements of a primitive time, is that the rock is a living form, in perpetual elaboration. Its material circulates, it almost flows, melted into metaphysical landscapes in the making.