Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Silvia De Marchi (b. 1967, Melzo, Italy) is an Italian painter currently based in Italy. Her artistic practice reflects a deep exploration of materiality and sensory experience, moving beyond mere visual representation to engage with the physical and tactile aspects of painting. Silvia's work focuses on the interplay between surface textures and the deeper levels of meaning that can be contained within, investigating themes of fullness and emptiness, visibility and invisibility, and presence and absence.
Silvia’s creative process begins with painting large sheets of Fabriano paper using a watery mixed media ink that includes iron powder, sand, silver powder, and sometimes dust or plaster. This technique results in monochromatic surfaces rich with textures and imperfections. The paper is then subjected to the effects of natural elements (sun, wind, and rain) allowing the material to undergo transformation through wear and tear. This process of deterioration and imperfection is central to her practice, embodying both the fragility and resilience of materials over time. Following this, Silvia tears or cuts the paper into pieces, which are then assembled into multilayered compositions.These works of art evoke a sense of construction and deconstruction, subtly revealing or concealing underlying structures.
Inspired by Buddhist philosophy, Silvia embraces the ephemeral nature of existence and finds beauty in imperfection and simplicity. Her works invite viewers to reflect on the transient quality of materials and the enduring value of time, offering a profound sensory and philosophical experience.
His art has been exhibited in venues across Italy and around the world, and his unique approach to materiality and process has been recognized both locally and internationally.

Chidy Wayne, whose work as an illustrator is already familiar to us, and who has shown a particular ability in recent years for drawing, now introduces us to his work outside the sphere of commercial projects. And this with a very personal pictorial offering.


Seeking to create appealing and conceptual works, Chidy Wayne weaves himself into an aesthetic language, paring it down to the bare essentials. In his new pieces, the superfluous is put aside so as to enter more deeply into the drawing, creating a minimalist and gestural artwork.


His new pieces are influenced by the artistic avant-garde as well as by ancestral and cultural elements, giving his drawings a certain primitive character. Although urban art and contemporary forms are also present in his style.
These drawings, the result of long reflection, are created using quick, bold strokes. This brings Chidy Wayne to create a personal code of signs and motifs of great symbolic significance. The drawings present such universal and timeless themes as existence, identity and internal conflict.
Chidy Wayne’s drawings do not abandon the figurative. His new subjects, the hands or shapes in conflict, are made with a great capacity for synthesis. They are witnesses to the talent and experience he acquired through his work as an illustrator and teacher. He turns to a more intimate form of expression, using his brushes and charcoal with confidence and energy on large-scale canvas and paper.

Silvia De Marchi (b. 1967, Melzo, Italy) is an Italian painter currently based in Italy. Her artistic practice reflects a deep exploration of materiality and sensory experience, moving beyond mere visual representation to engage with the physical and tactile aspects of painting. Silvia's work focuses on the interplay between surface textures and the deeper levels of meaning that can be contained within, investigating themes of fullness and emptiness, visibility and invisibility, and presence and absence.
Silvia’s creative process begins with painting large sheets of Fabriano paper using a watery mixed media ink that includes iron powder, sand, silver powder, and sometimes dust or plaster. This technique results in monochromatic surfaces rich with textures and imperfections. The paper is then subjected to the effects of natural elements (sun, wind, and rain) allowing the material to undergo transformation through wear and tear. This process of deterioration and imperfection is central to her practice, embodying both the fragility and resilience of materials over time. Following this, Silvia tears or cuts the paper into pieces, which are then assembled into multilayered compositions.These works of art evoke a sense of construction and deconstruction, subtly revealing or concealing underlying structures.
Inspired by Buddhist philosophy, Silvia embraces the ephemeral nature of existence and finds beauty in imperfection and simplicity. Her works invite viewers to reflect on the transient quality of materials and the enduring value of time, offering a profound sensory and philosophical experience.
His art has been exhibited in venues across Italy and around the world, and his unique approach to materiality and process has been recognized both locally and internationally.

Chidy Wayne, whose work as an illustrator is already familiar to us, and who has shown a particular ability in recent years for drawing, now introduces us to his work outside the sphere of commercial projects. And this with a very personal pictorial offering.


Seeking to create appealing and conceptual works, Chidy Wayne weaves himself into an aesthetic language, paring it down to the bare essentials. In his new pieces, the superfluous is put aside so as to enter more deeply into the drawing, creating a minimalist and gestural artwork.


His new pieces are influenced by the artistic avant-garde as well as by ancestral and cultural elements, giving his drawings a certain primitive character. Although urban art and contemporary forms are also present in his style.
These drawings, the result of long reflection, are created using quick, bold strokes. This brings Chidy Wayne to create a personal code of signs and motifs of great symbolic significance. The drawings present such universal and timeless themes as existence, identity and internal conflict.
Chidy Wayne’s drawings do not abandon the figurative. His new subjects, the hands or shapes in conflict, are made with a great capacity for synthesis. They are witnesses to the talent and experience he acquired through his work as an illustrator and teacher. He turns to a more intimate form of expression, using his brushes and charcoal with confidence and energy on large-scale canvas and paper.

Chidy Wayne, whose work as an illustrator is already familiar to us, and who has shown a particular ability in recent years for drawing, now introduces us to his work outside the sphere of commercial projects. And this with a very personal pictorial offering.


Seeking to create appealing and conceptual works, Chidy Wayne weaves himself into an aesthetic language, paring it down to the bare essentials. In his new pieces, the superfluous is put aside so as to enter more deeply into the drawing, creating a minimalist and gestural artwork.


His new pieces are influenced by the artistic avant-garde as well as by ancestral and cultural elements, giving his drawings a certain primitive character. Although urban art and contemporary forms are also present in his style.
These drawings, the result of long reflection, are created using quick, bold strokes. This brings Chidy Wayne to create a personal code of signs and motifs of great symbolic significance. The drawings present such universal and timeless themes as existence, identity and internal conflict.
Chidy Wayne’s drawings do not abandon the figurative. His new subjects, the hands or shapes in conflict, are made with a great capacity for synthesis. They are witnesses to the talent and experience he acquired through his work as an illustrator and teacher. He turns to a more intimate form of expression, using his brushes and charcoal with confidence and energy on large-scale canvas and paper.

Chidy Wayne, whose work as an illustrator is already familiar to us, and who has shown a particular ability in recent years for drawing, now introduces us to his work outside the sphere of commercial projects. And this with a very personal pictorial offering.


Seeking to create appealing and conceptual works, Chidy Wayne weaves himself into an aesthetic language, paring it down to the bare essentials. In his new pieces, the superfluous is put aside so as to enter more deeply into the drawing, creating a minimalist and gestural artwork.


His new pieces are influenced by the artistic avant-garde as well as by ancestral and cultural elements, giving his drawings a certain primitive character. Although urban art and contemporary forms are also present in his style.
These drawings, the result of long reflection, are created using quick, bold strokes. This brings Chidy Wayne to create a personal code of signs and motifs of great symbolic significance. The drawings present such universal and timeless themes as existence, identity and internal conflict.
Chidy Wayne’s drawings do not abandon the figurative. His new subjects, the hands or shapes in conflict, are made with a great capacity for synthesis. They are witnesses to the talent and experience he acquired through his work as an illustrator and teacher. He turns to a more intimate form of expression, using his brushes and charcoal with confidence and energy on large-scale canvas and paper.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Jamie Mills (b. 1983,West Cornwall, England) is an artist whose multifaceted practice encompasses music, sound, and visual arts. His work is deeply rooted in the exploration of the interplay between materiality and environment, navigating the complex relationship between internal and external landscapes. Mills' approach is distinctly interdisciplinary, merging elements of sound, photography, and mark-making to craft works that engage with both the tangible and the intangible aspects of experience.
Mills’ creative endeavor is driven by an investigation into the concept of 'gestalt,'a principle suggesting that the whole is greater than the sum of its parts.This idea is reflected in his art, where disparate elements—whether they are sounds, images, or gestures—interact to create a cohesive reality that extends beyond superficial representation. His pieces invite viewers to engage in a nuanced, empathetic exploration that bridges conscious perception with subconscious insight.
A key element of Mills' practice is the dynamic interplay between intention and spontaneity. He deftly balances deliberate material choices with an openness tot he unpredictable, resulting in works that occupy a unique, liminal space. His sound pieces, often crafted from unconventional instrumental techniques and processed field recordings, act as auditory explorations of internal states.Similarly, his visual works—whether through photography or assemblage—are seen as ritualistic, where the interaction of material, form, and environment speaks to a deeper poetic dialogue.
Residing and working in the evocative setting of West Cornwall, Mills draws profound inspiration from his natural surroundings and the transitional spaces he engages with. His art reflects this environment while delving into broader themes of connectivity, perception, and human experience. Jamie Mills' work offers a contemplative journey into a realm where boundaries between the internal and external, the material and ephemeral, are continually explored and redefined, providing viewers with a glimpse into a world that is both familiar and transcendent.

Silvia De Marchi (b. 1967, Melzo, Italy) is an Italian painter currently based in Italy. Her artistic practice reflects a deep exploration of materiality and sensory experience, moving beyond mere visual representation to engage with the physical and tactile aspects of painting. Silvia's work focuses on the interplay between surface textures and the deeper levels of meaning that can be contained within, investigating themes of fullness and emptiness, visibility and invisibility, and presence and absence.
Silvia’s creative process begins with painting large sheets of Fabriano paper using a watery mixed media ink that includes iron powder, sand, silver powder, and sometimes dust or plaster. This technique results in monochromatic surfaces rich with textures and imperfections. The paper is then subjected to the effects of natural elements (sun, wind, and rain) allowing the material to undergo transformation through wear and tear. This process of deterioration and imperfection is central to her practice, embodying both the fragility and resilience of materials over time. Following this, Silvia tears or cuts the paper into pieces, which are then assembled into multilayered compositions.These works of art evoke a sense of construction and deconstruction, subtly revealing or concealing underlying structures.
Inspired by Buddhist philosophy, Silvia embraces the ephemeral nature of existence and finds beauty in imperfection and simplicity. Her works invite viewers to reflect on the transient quality of materials and the enduring value of time, offering a profound sensory and philosophical experience.
His art has been exhibited in venues across Italy and around the world, and his unique approach to materiality and process has been recognized both locally and internationally.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Silvia De Marchi (b. 1967, Melzo, Italy) is an Italian painter currently based in Italy. Her artistic practice reflects a deep exploration of materiality and sensory experience, moving beyond mere visual representation to engage with the physical and tactile aspects of painting. Silvia's work focuses on the interplay between surface textures and the deeper levels of meaning that can be contained within, investigating themes of fullness and emptiness, visibility and invisibility, and presence and absence.
Silvia’s creative process begins with painting large sheets of Fabriano paper using a watery mixed media ink that includes iron powder, sand, silver powder, and sometimes dust or plaster. This technique results in monochromatic surfaces rich with textures and imperfections. The paper is then subjected to the effects of natural elements (sun, wind, and rain) allowing the material to undergo transformation through wear and tear. This process of deterioration and imperfection is central to her practice, embodying both the fragility and resilience of materials over time. Following this, Silvia tears or cuts the paper into pieces, which are then assembled into multilayered compositions.These works of art evoke a sense of construction and deconstruction, subtly revealing or concealing underlying structures.
Inspired by Buddhist philosophy, Silvia embraces the ephemeral nature of existence and finds beauty in imperfection and simplicity. Her works invite viewers to reflect on the transient quality of materials and the enduring value of time, offering a profound sensory and philosophical experience.
His art has been exhibited in venues across Italy and around the world, and his unique approach to materiality and process has been recognized both locally and internationally.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.

Mattia Listowski, born in Paris on February 28, 1987, is a French sculptor, draughtsman and photographer of multiple origins (France, Italy and Poland), from a creative family. He lives and works in Paris and Brussels, and studied at ESAG Penninghen from 2005 to 2008.

Mattia sculpts narrative architectures in the raw material of concrete, characterizing our symbolic relationship to memory, the ruin of ideas; and encapsulates hushed stagings of these magical places with medium-format silver-chamber photographs, crystallizing an equivocal memory on the surface of concrete. In this way, he revolutionizes a temporal paradigm by studying our physical relationship to space, in a narrative that crosses personal history, art history and the history of great civilizations.

His work uses the formal language, techniques, tools and representations of architecture, exploring matter and light. He combines a conceptual approach, industrial know-how and craftsmanship, metaphorically exposing our dual relationship to the world: the invisibility of being in the global mass, at odds with our primordial essence as sensitive individuals.

A romantic dialectic of travel, anthropological and picturesque, in a universe that constantly brings into tension the ephemerality of light (brought about by the notion of events and sensitivity) and the eternity of stone (supported by the notion of memory), confronting us with our own memory, our singular recollections.

Mattia lives and works in Brussels.