Current Exhibitions
EXHIBITION BRIC-À-BRAC & IMPROMPTUS II [COLOURS, ANIMALS, SKETCHES & PRESENCES…]
SUMMER GROUP EXHIBITION FROM JUNE 27 TO SEPTEMBER 13, 2025
Opening reception on Friday, June 27, from 4 to 8 p.m. and Saturday, June 28, from 2 to 6 p.m.
Closing reception on Saturday, September 13, from 4 to 9 p.m.
Opening hours: 2pm to 7pm Wednesday to Saturday and by appointment. In general, the artist JPS and certain other artists will be present at the gallery on Saturday afternoons from 3pm to 6pm.
(From July 14 to September 1, the gallery will only be open by appointment with the Heidi suter or JP Sergent.)
CONTACTS
Gallery Keller: Heidi Suter | www.kellergalerie.ch | hs.kellergalerie@gmail.com | + 33 (0)9 56 76 45 54 | + 41(0)79 329 58 56
Jean-Pierre Sergent: contact@j-psergent.com | +33 (0)6 73 44 94 86
- DIRECTIONS - POSTER OF THE EXHIBITION
POSTER, FLYERS & PRESS RELEASES PDF
Dossier de presse (FR) | Press release (ENG) | Affiche A3 | Flyer 10 x 15 cm
– CLAUDE BOILLIN-BRETON (born in Poligny, France on July 31 1932) [mail of is son Alain pictura.asso@gmail.com]
Trained at the Strasbourg School of Decorative Arts in the 1950s, I worked for over 30 years as a set designer at the Strasbourg branch of regional television station FR3.
Drawing, painting, and imagination have been my companions throughout my professional life, but it was not until the early 1990s that my retirement allowed me to devote myself entirely to the graphic arts, and more specifically to the technique of reverse glass painting.
This ancient technique reached its peak during the Renaissance and then spread throughout the Western world, mainly in the form of religious subjects, evoking the art of cathedral stained glass.
The principle is to paint with oil directly on the back of the glass, starting with the details of the painting and finishing with the background. The glass protects the painting, giving it a smooth and shiny appearance.
My subjects are varied, ranging from regional culture (Franche-Comté farms, bell towers, fountains, local crafts, pastoral scenes) to floral and animal subjects, or those evoking naïve art, stained glass, or religious icons.
– HER ARTWORKS EXHIBITED
- "kingfisher", oil painting under glass, 43 x 33 cm, 2024
- "Bird of paradise 1", oil painting under glass, 43 x 33 cm, 2024
- "Bird of paradise 2", oil painting under glass, 43 x 33 cm, 2024
– BARBARA DASNOY (born in Germany in 1951) [barbara_dasnoy@hotmail.fr | www.barbara-dasnoy.com]
– BIOGRAPHY
French-German visual artist born in 1951.
Studied in Göttingen, then taught in the Palatinate.
Moved to France in the 1970s, studied at the Faculty of Arts and the School of Fine Arts in Besançon.
Obtained her DNSEP. Worked with Jean Ricardon and met Michel Seuphor. Lives in Besançon.
Her work focuses on the relationship between line and gesture with color as the field: a clear, rigorous position, in the tradition of Mondrian, Bram van Velde, and Rothko.
– TEXT BY NATHALIE BECKER, August 2016
Immersing oneself in Barbara Dasnoy's paintings is a unique sensory experience. The artist invites us to lose ourselves in the different spaces that make up her canvases. The lines, patterns, transparencies, overlays, discoveries, and interplay of planes transport us into a world of color and form.
This German artist, who has lived in Besançon for many years and graduated from the ERBA (École régionale des Beaux-Arts de Besançon), likes to transcribe reminiscences and memories in her art. Thus, in the complex network of lines that animates her compositions, memory becomes a real subject. The invisible takes shape in color and matter. Perhaps this is what Paul Klee meant by “being abstract with memories.” However, when looking at Barbara Dasnoy's work, the divide between abstraction and figuration becomes subtle. There is a palpable power in her drawings. In each composition, we feel the importance of the stroke and the line, the immediacy of the drawing, quick to capture an idea, a reflection, an emotion that the artist then inscribes in the permanence of the pictorial field.
Barbara Dasnoy thus allows us to apprehend the visible. The network that energizes her canvases is reminiscent of stained glass windows, and the artist seems to be in search of a light and a play of transparency that endow her work with a spiritual momentum.
And what can we say about Barbara Dasnoy's chromatic rendering and gestural dimension, which here and there evoke the power of Rothko's abstract expressionism? Like the American painter, Barbara invites us on a motionless journey into the heart of the vibration of colors, into the heart of a subtle rhythm that transcends the majesty and mystery of the compositions. While Barbara Dasnoy's work may appear playful at first glance, we need only let our gaze penetrate the fabric to read something more complex, more lyrical. The artist puts her heart and soul into her work, and all the revelations she invites us to explore in the “sediments” of her gestures make her works mental landscapes.
– PHOTOS OF THE STUDIO & HER EXHIBITED ARTWORKS:
- 1-5, Photos taken in Barbara's studio with galerist Heidi Suter & Jean-Pierre Sergent, May 28, 2025
- 6 - 8, dessins au pastel gras, année, dimension, technique ?
- 9 & 10, Dypthiques, empreinte de pastels sur bois, année, dimension, technique ?
- EILBHE DONOVAN (born in Ireland) [eilbhedonovan@gmail.com | www.eilbhedonovan.com]
BIOGRAPHY
Having obtained an Honours degree in illustration at West Wales School of the Arts, Eilbhe Donovan’s work derives from the traditional illustration techniques of drawing and printmaking. Her time in South East Asia is evident in the Japanese inIluenced style of minimalist ink painting, particularly the simplistic highly stylised movement of Shin-Hanga where there is little to no background, rather a faint suggestion.
Paintings are created using traditional Oriental brushes loaded with water and ink applied thereafter with a pipette. This creates a light airiness as the ink disappears into itself in a random manner. These are worked up in pencil & ink afterward.
Eilbhe has exhibited widely internationally and her work is held in private collections in Australia, USA, UK, Germany, Switzerland and Ireland.
ARTIST STATEMENT
I live within walking distance of the Atlantic ocean. I am interested in the relationship between humans and the sea. The ocean world fascinates me and I see the coast as the meeting point of the known world and the unknown.
We aspire to live beside it, yet cannot control it. It is both temptress and Iickle traitor; provider and destroyer.
It can bring the greatest calm as well as the utmost destruction.
I try to capture that. There is a sadness too in the knowledge that we are destroying our own bounty. This relationship is edging ever closer to a tipping point. It is delicate.
Many of the images are created from blended memories of trips by sea kayak to remote Atlantic islands and isolated coves. They are an attempt to capture a moment in time, a split second, the briefest glimpse.
I do not wish to intrude.
I wish to observe yet be unobserved.
– VISUAL OF AN UNEXHIBITED WORK (for example):
- "Célérité", encre et crayon sur papier, 101 x 126 cm
– JEAN-MICHEL JAQUET (born and died in La Chaux-de-Fonds, Switzerland, 1950 - 2022) [mail of his wife Magali from the Association Le Porteur de Ciel [mph.artconsulting@sunrise.ch | SIKART]
BIOGRAPHY
After studying graphic art in Geneva, he devoted himself entirely to drawing. For forty years, he exhibited regularly in Switzerland, Germany, Belgium, and occasionally in France as well. The inventor of a graphic language of signs that is both personal and universal, he explored in his work the great themes that have stirred humanity since time immemorial: love, death, pain, betrayal, the thirst for power, violence, poetry, freedom, and also the animal world, to which he gave a particular symbolism.
After working for some twenty years in France, Egypt, and Corsier-sur-Vevey, on the shores of Lake Geneva, he returned to La Chaux-de-Fonds, his hometown, with his wife Magali, who was his close collaborator for more than twenty-five years.
Seriously ill, he continued to draw from his bed in very small notebooks, demonstrating until the end his visceral connection to drawing, which was more than a passion, it was a vital necessity for him. Today, his works are featured in numerous public and private collections.
Some of his aphorisms:Paper is the last virgin land to
explore. Its whiteness hides its depth.
To draw is to sink into the forest.Through the line, I can better connect what is
ordinarily perceived as separate. It is a system
of signs where humans, mountains, and animals are
woven into the river of the world.Drawing: that place where everything is allowed and where
so little is possible.Drawing cannot deceive; it always tells the truth
about its author, whether skilled or unskilled,
professional or occasional. All
drawings are self-portraits; we reveal ourselves
through drawing.Small drawing: immense desire.
- HIS EXHIBITED ART WORKS:
- 1, "La Stèle", 1997, Encre bleue et gouache sur journal Financial Time, 56 X 39,5 cm, marouflé sur Vélin d’Arches 70 X 50 cm
- 2, "Sans-titre", 1997, Encre bleue et gouache sur journal Financial Time, 56 X 39,5 cm, Marouflé sur Vélin d’Arches 70 X 50 cm
- 3, "Triviale chevauchée", 2003, craies, sanguine et graphite sur papier Canson, 20,8 X 14,8 cm, encadrée 21 X 15 cm
- 4, "Sans-titre (Fresque vivante)", 1987, craies et sanguine sur papier-cartonné, 16,5 X 23 cm, encadrée 17 X 23,5 cm
- 5, "Sans-titre" (Homme et cochon), 1983, graphite sur Canson, 25,5 X 29 cm, encadrée 26 X 30 cm
– GUIMBARDE (1950-2024) [daughter's email Fanny]
– BIOGRAPHY
Noël GIRARD-CLOS, known as “Guimbarde”, was born on December 27, 1950, in Delle, in the Territoire de Belfort. His nickname refers to the musical instrument of the same name, which he played so well.
Inspired by nature and music from an early age, he built his life by devoting himself fully and passionately to Art. As a traveler, he was open to the world and to different cultures, particularly when he lived on Reunion Island in the 70s.
A student at the Besançon School of Fine Arts, Guimbarde has participated in numerous exhibitions, notably in Besançon and in his beloved Franche-Comté region.
Simple, authentic and wholehearted, Guimbarde was an atypical character. A devout believer, he saw himself as a 'pilgrim-Christian' artist, and attached great importance to his faith.
He passed away on October 30, 2024, at the age of 73, leaving behind a rich and colorful cultural heritage.
- HIS EXHIBITED ART WORK:
- "The Anthropoid Deer Smiling in a Vortex of Butterflies, 1994, engraved plate painted with oil, 100 x 72 cm
SAMIRA SAHRA NAWARD (born in 1980 in Tehran, Iran) [sahranavards@yahoo.com | instagram]
– BIOGRAPHY
Art teacher and art historian, writer, illustrator, and painter.
– ABOUT HER EXHIBITED ARTWORK
Le tableau "World Peace" a une signification différente pour les femmes d'aujourd'hui. Ce tableau symbolise la paix et la coexistence sans guerre ni effusion de sang. Cette œuvre "World Peace" représente le ciel bleu dans lequel toutes les femmes et tous les enfants du monde et même tous les êtres vivants, envoient joyeusement des drapeaux colorés vers le ciel. La paix dans le Monde des femmes signifie un monde où toutes les femmes dansent et rient, continuent à vivre en paix et en liberté et ont le droit de choisir leur Vie.
– HER EXHIBITED ARTWORK:
- "Peace, Woman, Art", 2024, ink and painting on paper, 53 x 38 cm, 2024
– JEAN-PIERRE SERGENT (born in 1958 in Morteau, France)
– BIOGRAPHIE
Artiste peintre franco-new yorkais (1993-2003), vivant et travaillant aujourd’hui à Besançon. Ses œuvres sérigraphiques de peinture sur Plexiglas et sur papier, sont exposées internationalement depuis les années 90 : au Canada, aux Etats-Unis, en Europe, en Iran et en Chine depuis 2016.
Son travail est à la fois un émerveillement devant la vie et sa fugacité et conjointement, un hommage vibrant à la colossale énergie vitale dans sa continuité humaine culturelle et dans l’infini cosmique intemporel : une présence jaillissante du désir érotique venant de la nuit des temps et de la beauté cosmico-mystique.
– SES ŒUVRES EXPOSÉES :
- 1, "Mayan Diary #95", peinture acrylique sérigraphiée et acrylique peinte au dos de plaques de Plexiglas, encadré : 1,40 x 1,40 m, 2010
- 2 - 5, 4 x “Sketches from New York,” pencil, colored pencil & felt-tip pen on white paper, 28 x 21,7 cm, 1994 - 2002
- 6, "Sketch of New York, colored pencil, felt-tip pen & burnt subway map, on white paper, 17 x 10,8 cm, 2000