Lucile Littot

“La Nuit étoilée ou la nuit sans étoiles” at Rustaveli 37 location.

« The Starry Night », bears its title in homage to Van Gogh's painting.

The painting depicts what Van Gogh could see and extrapolates from the room he occupied in the asylum of the monastery of Saint-Paul-de-Mausole. Here, the painting, which could also have carried the title "Peeping Tom", could be a love scene that one could witness while looking through the lock of a door.

However, the female figure, sort of a Lady Godiva wearing a black velvet Venetian mask, the famous « Moretta », a classic eighteenth-century chivalrous object, shows only a simulacrum of her feelings; And seems to be riding a man who has assumed the appearance of a demon. Perhaps the title of this painting should have been "The night without stars".

Lucile Littot, b. 1985 in Paris, is a French artist, working between Paris, Los Angeles, and Ciudad de Mexico. She graduated from the Ecole Superieure D'Art de Rueil-Malmaison in 2008 and studied at the Ecole de Beaux-Arts de Marseille. She has been nominated for the 20th Ricard Corporate Fondation Prize, commissioned by the artist Neil Beloufa in 2019, in Paris, FR. She has had solo exhibitions at the Night Gallery in Los Angeles, CA and New Galerie in Paris,FR, Galerie Edouard Manet, Gennevilliers, FR. Her work will be included in 2021 in the group exhibitions « « La diossa Verde » MAZ, Guadalajara, MX, « Les flammes,l’art vivant de la céramique » Musee D'art Moderne De la Ville De Paris, FR, and has been included at Musee Regional D' art Contemporain de Serignan, FR, Sans Titre, Paris, FR.

Lucile Littot's universe strikes by its freedom, its singularity, its prosperity for exuberance, which is alternatively baroque, rococo, romantic, dreamlike, grotesque, caricature, caustic, joyful, and tragic. It is like a festival open to all plastic excesses, to hybridization of forms and mediums, from painting to ceramics, in installations where nested and sprawling stories are intertwined. Glamorous and trash, Lucile Littot plays with hierarchies and aesthetic categories to draw references from both the field of scholarly and popular culture.