Marine Wallon

Biography

Courtesy Vincent Ferrané

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Marine Wallon's model is, therefore, one of layering, resulting in a vertical landscape composed as a stratigraphic column; in other words, as a collection of sedimentary layers, whose cuts and larger groupings establish a geological time scale. In Marine Wallon's work, these striations function akin to strata, coalescing to create formations, such as patches of water in Gibara, Kayabi, or Singen, slopes flowing into the Ica talweg, or expansive sandy stretches in Hanö. The stratum, as elucidated by Gilles Deleuze and Félix Guattari, embodies an act of ‘capture’, consisting ‘of giving form to matters, of imprisoning intensities or locking singularities’^{^[1]}. The tabular composition in Marine Wallon's landscapes encapsulates time within matter, crystallising the various moments it is made of as to show them simultaneously. Time here is that of the artist’s work, for the striations are the hollowed-out inscription of her gesture, reminiscent of the techniques employed in engraving, a discipline the artist practices in the chalcography workshop at the Louvre. Her timescapes encompass an immensity of spatial and temporal dimensions, a feat typically achieved only through successive eye movements [...] -- Estelle Marois, curator, 2023

Born in 1985, Marine Wallon graduated from the Beaux-Arts in Paris in 2009. Her work has been exhibited at gallery exhibitions inclu-ding Galerie Catherine Issert, Saint-Paul-de-Vence; Stoppenbach & Delestre, London UK; Under Construction, Paris; and in art centers including Annecy, Büdelsdorf, Troyes. Her work is featured in public and private collections (Collection du Musée du Louvre Chalco-graphie, Fondation Colas, Ville de Vitry-sur-Seine dépôt MAC VAL, Artothèque d’Annecy, Fonds Moly-Sabata, Collection Société Géné-rale).
In 2022, Marine Wallon was the laureate of the 11th Jean-François Prat Prize chaired by Patrizia Sandretto Re Rebaudengo. She won other painting prizes such as the Moly-Sabata Prize at the 64e Salon de Mon-trouge (2019), Colas Foundation Prize (2020), 3rd An-toine Marin Prize (2018), November International Painting Prize in Vitry (2017), Print and Paper Prize SMFA Boston (2008).
In 2022, she realized a colour-etching for the Chalcographie du Louvre com-missioned by the Louvre Museum et Réunion des mu-sées nationaux — Grand Palais.
In 2023, she was nominated for the Drawing Now Prize.

Solo exhibitions include :
Plus haut tremble, CAC Passages Troyes (2023) ; Purple Lime, Stoppenbach & Delestre (London, UK 2021) ; Brasser carré, Gale-rie Ca-therine Issert (Saint-Paul de-Vence, 2021); Discordance de la courbe, Le Point Commun (Annecy, 2019).

Selected group exhibitions include:
Voir en peinture, MASC Sables d’Olonne, Musée Estrine et Musée des Beaux-Arts de Dole (2023) ; We Paint, Beaux-Arts de Paris (2022) ; 11th Jean-François Prat Prize, Bredin-Prat Fund, Paris (FR 2022); FIAC OVR, Galerie Catherine Issert (FR 2021) ; Some of us, Kunstwerk Carlhütte, Büdel-sdorf (DE 2019) ; 64e Salon de Montrouge (FR 2019) ; Le soleil se lèvera demain, Wonder-Liebert, Ba-gnolet (FR 2018) ; Payne Whitney Mansion-Ambassade de France, New York (FR 2017) ; Matin, midi et soir, Honoré Visconti, Paris (FR 2016); Saxifraga Umbrosa, La Générale en Manufacture, Sèvres (FR 2014) ; La Belle Revue-In Extenso, Mac/Val, Vitry-sur-Seine (FR, 2014).

Works