Galerie Nathalie Obadia
Art Basel in Hong Kong 2017
The Waterfall, 2016
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Buried in stump while knitted together at side in a illusion a roar of birds and predators pickled on earth in one spray of air played. , 2015
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Returned from the Amazons, returned from East, returning to bring beauty of their flowers in jungles sewn, returning with animals from the “altar of afar” with samples of people, furnishings, sugar and clove, spicing the world with the that will soon be known and everything that was - was once not known could be bought and sold., 2016
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Artistic Laws, 2011
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Chine, porteurs de briques, 1957
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Chine, Yunnan, responsable d’un village en coopérative, 1957
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Chine, fillette au quai de Canton, 1957
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Canton (Chine), école flottante, 1957
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Chine, les chapeaux au jardin d’enfants 2, 1957
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Matrimonial market and unearthly suitors., 2016
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In Plain Sight, a tear see- med to surge out of the most left eye, in pocket hidden, piled high, seeds, timeless pinched her for a plenty with teeth tickles of simple justice., 2015
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Night is Coming, 2014
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Primogenitor, 2014
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Shenyang (Chine), ex-Moukden, sortie scolaire en plein vent du désert de Gobi, 1957
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Chine, Enfant assis, 1957
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Chine, les chapeaux au jardin d’enfants 1, 1957
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Canton (Chine). Village flottant, 1957
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These oceans can open, spray scent, come and send away, piles of tight circles, criss cross to wet lands at the waters' edge, faulted five and so many cities, deposited, 2015
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In Mute Witness at the outskirts and out of center she forms a final creased edge of makeshift settlements, a dark and iridescent thorn of horn pierces all home with the hard and the green of unripe fruit, 2015
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Relic, 2016
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Sud de la Chine, jour de pluie, 1957
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Chine, région de Wan Sien, 1957
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Chine, sur le bateau qui dessert le Yang Tze, 1957
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Chine, lieu touristique, 1957
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Canton (Chine), à la crèche, 1957
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