"My work has always been driven by certain preoccupations and obsessions, that can be seen as divided between the particular and the universal. The particular is shorthand for the observable aspects of reality, the stuff around us (the landscape, our bodies). The universal is a shorthand for things that are too vast or too tiny for us to grasp completely ( space, atomic physics)— that necessarily become a kind of abstraction. Those are the things that I think about, with an emphasis on the relationship between those things — the place where they meet or interact, rather than the divide. I'm concerned with where I stand, or where anyone stands, in relation to these aspects of existing reality … the act of observation of the place in between; visual awareness and perception as a way of understanding existence, like a filter.

I tend to be attracted to opposing but related visual phenomena like positive and negative, pattern and randomness, color and grayscale, flatness and depth, representational and abstract imagery. I always want to go in both directions at once and much of my work has involved trying to find ways to integrate these opposites. My most prevalent motif has been the circle in all its forms and references. Atoms, dots, spheres, solids, voids, cells, selves, stars, eternity, emptiness- it’s amazing how much can attach to this form."

Lisa Beck (b.1958, NY) recent shows include Elisabeth Dee Gallery (NY, 2017), MAMCO (Geneva, 2016), Galerie des galeries (Paris, 2016), Galerie Lisa Ruyter (Vienna,2012), Le Magasin (Grenoble, 2009). Her work is part of Frac des Pays de la Loire collection and Collezione Maramotti.  She was represented by gallery Samy Abraham in France who made several shows in Paris.

(B. 1970) Rainier Lericolais’ works, both plastic and musical, have in common the notion of recorded memory. He collects artefacts and symbols from many cultural stratums, gathering them to compose visual, sound or spatial works in which he mixes musical, cinematic, plastic and literary references.
One work in the exhibition, L’invention de Morel, refers to the eponymous short story by Argentinian writer Adolfo Bioy Casares who, after being shipwrecked, found shelter on an island where each day repeats on a loop. In the end, he finds out that the island works like a record that is played daily.
This first exhibition of Rainier Lericolais’ sculptures, in dialogue with Lisa Beck’s paintings, presents one of his main lines of work: abstraction and representation of sound, especially through the angle of recording.
This subject can also be found in his works on paper: photograms, oscillograms, scannograms (recording of light in the form of vibrating waves), record prints (Phantômes).
This ability to imprint an experienced moment on a medium - and its fragility - are obsessional topics for Rainier Lericolais. It enables him to consider the conditions for an object to appear in its time

Recent exhibitions by Rainier Lericolais include: Galerie Nosbaum Reding (Luxembourg, 2018), Kunstverein Bitcherland Artopie, (Meisenthal, 2015), Centre Pompidou (Paris, 2015), Galerie Franck Elbaz (Paris, 2014), Frac Limousin (Limoges, 2012), Le Confort Moderne (Poitiers, 2011). his works are part of the FNAC - Fonds national d’art contemporain collection, FRAC Ile-de-France, FRAC Aquitaine, FRAC Poitou-Charentes,  FRAC Limousin, FRAC Corse, and MAC/VAL, Musée d’art contemporain du Val-de-Marne.