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IGNIS Technique mixte Sur tissu Piece unique 200x200 cm Pour connaitre le prix consulter le catalogue.

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Mise en situation atelier Ewa BATHELIER

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ARMA III Technique mixte Sculpture tissu Piece unique 75 x 60 x 40 cm VENDU

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IGNIS Technique mixte Sur tissu Piece unique 200x200 cm Pour connaitre le prix consulter le catalogue.

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L’expérience d’Ewa Bathelier en tant que costumière et décoratrice au théâtre se reflète clairement dans ses peintures acryliques emblématiques. Ayant passé sa vie d’adulte en France, l’artiste se concentre sur l’une des exportations culturelles les plus célèbres du pays: le ballet, en particulier la tenue de ballet. Légers, flottants et symboliques, les robes, justaucorps et tutus primavera qu’elle représente sont mis en relief par leurs arrière-plans monochromes, bien que les vêtements manquent manifestement des corps censés les habiter.


La Biennale di Venezia, Italy
Galerie Philippe Decorde, Strasbourg, France
Galleria Ca’d’Oro, New York, USA
Jpb-art Gallery, Saint-Tropez, France
Art Hamptons, USA
Art Miami, Art Basel Week, Miami, USA

Art Miami, Art Basel week, Miami, USA
Galleria Ca’d’Oro, Armory Week, New York, USA                      
MFineArts Gallery, Boston, USA
Maune Contemporary, Atlanta, USA 
Art Palm Beach, Palm Beach, USA
Galerie Philippe Decorde, Strasbourg, France
Cave Vinicole,  Ribeauvillé, France

Miami Design District, Miami, USA
Galleria Ca’d’Oro, New York, USA 
Chase Edward Gallery, Hampton, USA
D.X. Galerie, Bordeaux, France
ART JED Gallery, Saint Moritz, Switzerland 
Jpb-art Gallery, Saint-Tropez, France

Art Miami, Art Basel week, Miami, USA 
Art New York, USA
Art Market Hamptons, USA
Art Marbella, Spain
Jpb-art Gallery, Saint-Tropez, France
Palm Beach Contemporary and Modern, USA 
Boston International Art Show, USA

Art Miami, Art Basel week, USA 
Galleria Ca d’Oro, New York, USA 
Art Miami New York, NYC, USA
Reveal Saratoga Art Fair, Saratoga Springs, USA 
Art Boca Raton, Florida, USA
Art Palm Beach, Florida, USA
Jpb-art Gallery, Saint Tropez, France

Context, Art Basel week, Miami      
Galleria Ca’ d’Oro New York, USA Galerie DX, Bordeaux, France
Art Palm Beach, Florida, USA
Paul Fisher Gallery, Palm Beach, Florida, USA
Art Wynwood, Miami, USA
LTB ART Gallery, Mexico City, Mexico Art Market Hamptons, USA
Jpb-ART Gallery, Saint-Tropez, France

Context, Art Basel Week, Miami, USA 
Art  Palm Beach Palm Beach, USA
Southhapton Art Fair, USA
LTB ART Gallery, Mexico City, Mexico Nobel Gallery, Oslo, Norway
Jpb-art Gallery, Saint Tropez, France

Context, Art Basel week, Miami, USA 
Art Miami New York, NY, USA
Los Angeles Art Show, USA
Art Wynwood, Miami, USA
Galleria Ca ‘d’Oro, New York, USA 
Southhapton Art Fair, USA
Jpb-art Gallery, Saint Tropez, France


“Dresses series is her obsession for years. All dream-like. Together they orchestrate a subtle serenade, pervaded with sensual wishes, energetic and unsentimental. The ability of the medium to create a message about interiority - which is a far cry from the stolid display of the dress. Fascinated by the grace, subtlety and variety of a single silhouette clad in many attires with marvelous textures, patterns and script-signs enmeshed in a literally physical atmosphere. The puzzling question arises: can you guess what’s inside those dresses, what desires, what palpitating heart inhabits them, and what keenness of the mind-eye continuum propels into life these fabric shells?.”

Ileana Marcoulesco, Houston

Behind the dress, EWA BATHELIER is naturally engaging with the subject of feminity. Rather than showing women as muses or ideals, she is reviewing the concept of feminity through standards of forcefulness, vitality and audacity. Using chiaroscuro effects, drips and textures, she creates a composition much more powerful and protective than a simple piece of clothing. EWA BATHELIER usually describes her dresses as “armors and chainmails”.


Her works seem to be intangible and difficult to define, as they take up many themes relating to a today human’s life such as: loneliness, sense of isolation, passing away or emptiness. What is more, the vast majority of her works is limited to one single theme: dresses without bodies - the magical tutu dresses. The simplicity and universality of her projects create a great potential for a broad interpretation in accordance with our experiences, perceptions and emotions. It is said we see in other person or in the reality around us what is already in us ... What do I see staring at her paintings? I see - opportunities, reliability and deep confidence that any emptiness can be filled by the human and he can do this only on his own by discovering his passion, even those written in small letters. And as my friends said - "And the life will prove you that you are right ...".


Zahyrra: First of all, I must ask you about one of my favorite movies - "Black Swan". Which part of that movie caused the strongest emotions in you, and why?

EWA BATHELIER: I cannot forget the scene of growing wings. It was full of realism, fantasy and strength ... This film is extremely artistic, perfect technically and very moving. "Black Swan" – in such a way, I titled one of my paintings.


Z: Ballet bewitches, charms and moves us, but the final result is made up of hard, hard work ..., apart from a talent, of course. Which of these words is much closer to you - hard work, balance or perfectionism? Why? Or maybe is there something else...?

EB: Balance what I would call in French as a "harmonie", is very important in art and has nothing in common with hard work or perfectionism. It is a way of organizing of the space, image and proportions and it can be compared to an architectural construction, though apparently it may seem that painting and architecture have not too much in common with each other.

Z: You finished medical studies. How did it happen that you became an artist - a painter creating in France?

EB: Medicine was for my parents, they are both doctors, but the art was for me (laugher). Together with medical studies I was dealing with drawing, painting, poster art and interior design. When I came to France, it turned out that the Polish diploma of the medical university was not regarded equal in relation to the analogous French one and as a result it did not give me the right to practice in France. So, It was a good excuse for me in order to devote myself to art completely.

Z: What was the most crucial moment in your career as an artist?


EB: There were several ones, but one caused that I started painting dresses. Namely, in the mid-nineties I was invited by Walter Asmus – the theatre director and assistant of Samuel Beckett - to prepare stage decoration and costumes for several dramas of Samuel Beckett's international production in Krakow. At that time, I made costumes for three actresses of the Polish Old Theatre, which were made of painting canvas and coated with pigments and medium, which usually I was using to paint pictures. Dresses, hats and shoes created in my atelier "were playing and played" in the drama titled: "Come and go" in Krakow and many other cities around the world, and then as a result I started declining dresses in an endless series of paintings.

Z: And now a little tricky question: if I say that you are an artist of one sort of pictures, would it be a compliment or a faux pas from my side?

EB: Hmmmm..... I forgive you (laugher), but it is really true that this theme really dominates, but taking into

account a series of costumes I have been painting also kimonos and jackets, and prior to the "previous age" I was painting other things, such as a large series of paintings titled: "Human who walks" or "Deserts and gardens ".

Z: What exactly gives you the impetus to paint another picture?

EB: Each painting means a different story, as if I was starting all over again, as if I was reaching a new peak of a mountain, but without any special preparation, just - action. I love this state of distraction from the reality and I am completely addicted to it. Before the exhibition deadline, of course, the impulse becomes stronger and more concrete.

Z: What sort of emotions and experiences was important at the beginning of your artistic career and what is important for you now? How has your style been changing?


EB: At the beginning I was experimenting a lot; I was using various materials such as metals, stones and wood together with a linen sheet, which then I was nailing to heavy stretchers. For eight years I have been working on light and free of any frames materials. I have been painting very large formats, and as a result my gesture therefore has gained greater impetus. I love such a sense of freedom.

Z: Does a series of kimono paintings begin a new stage in your professional life?


EB: The first series of kimonos was created for the exhibition in Bologna in 2010. That vernissage was a big event in Artefiera. I'm going back to kimonos, sometimes.

Z: You surprised me by saying that you also deal with designing furniture - tell more about these projects.

EB: I've realized many projects of furniture, and even the whole interiors. I love it and I treat them like my paintings and installations. Getting back to the concept of balance, of which I spoke earlier - working on these projects I came to the conclusion that the diagonal lines interest me the most; I am impressed how they are able to increase any interior by creating the visual impression of a new interesting perspective.

Z: What does the passion mean for you? Do you think that perfectionism favour to passion?

EB: I do not want to use any pathetic words. Simply, you like something or not; sometimes you love it!


Interview published in Kwartalnik Artystyczny.

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