Alexandre Fandard defines himself as a visual artist of the living arts. Painter, performer and choreographer of Afro-Caribbean origin. He draws his raw and radical force from the disorder of the body and the world. He perceives the World as a common flesh, an old wall, a place of memory, an old skin that trembles, similar to our body, the one that inexorably brings us back to face our presence in the world. His works, with their dark and luminously poetic charm, are an exploration through the body and the material of the vertigo of "nature", of this reality in perpetual movement, of this trembling of relations, at the same time chaos and immeasurable source of creation.

Julian Farade (born in 1986 in Paris) lives and works in Paris. He is interested in popular arts and crafts. Whether he paints them, draws them, weaves them, engraves them, Julian Farade's fantastic animals are everywhere, swarming, overflowing. An embroidery stitch that he invented himself allows him to transpose his animal pictorial vocabulary into wool. The debacle of his canvases and notebooks gives way to a more tedious and meditative work.

Camilla Farina (born in 1984 in Paris) graduated from Villa Arson in Nice in 2010. Camilla is an illustrator, and she mainly relies on processes of mechanical reproduction to drive her visual research. She tries to let the dialogue between the drawing and the machine happen, observe what it can produce, materialize, reveal by itself. The work is often the result of simple and combinatory protocols, which generate series that, through their insistence, gradually alter a motif and cause it to oscillate between a mechanical approach and a more sensual and sensory approach.

Samuel Fasse’s (born in 1995 in Paris) work focuses on the possibilities offered by the body as an instrument of creation. He perceives new technologies as tools leading to the design and understanding of a new corporality. Through this multiform and collaborative approach, he establishes a dialogue with different actors close to the most eclectic profiles – dancers, composers, developers, researchers – expressed in several artistic forms such as performance, installation, or sculptures.

Alma Feldhandler was born in 1996 in Trappes, France. She lives and works in Paris. Her recent exhibitions include The Latest Thing (2026) at Meyer Riegger Wolff, Seoul; There Is a Crack in Everything (2025) at the Jewish Museum of Belgium; Who’s the Captain of All These Boys of Death? (2024) at Meyer Riegger, Berlin.
She graduated with a BA from the LCC, University of the Arts London (2017) and post-graduated with a DNSEP from the ENSAPC, Paris (2021)

In her work, Adélaïde Feriot (born in 1985 in Libourne) experiments with the introduction of living organisms in the space and time of the exhibition. She sees herself as a “tuner of living machines”, keeping in mind the troubling idea of the automaton, between the animate and the inanimate. Materials, their origins, their properties, their symbols, are at the heart of her practice. She seeks to give shape to the transfers of energy that take place between them in the workshop, and later when they are joined by our vibrating bodies.

Juliette de Ferluc was born in 1989. Her plastic research focuses on the oxidation of copper, the enamelling of clay and the modelling of plaster. Her work with copper involves extracting shapes and colours from the metal rather than adding them, using techniques similar to those she uses to obtain textures and colours in her ceramic sculptures. She is also interested in elevating forms by repeating identical modules, exploring both modelling and the new possibilities of 3D ceramics. The issues of wall and floor hanging are at the heart of her current work.

Émilie Ferré is a self-taught artist. Her work is rooted in the study and understanding of the elements, both microscopic and macroscopic, of the world around her. The extrapolation of the invisible introduced her to an almost cathartic process, which led her to create her own interpretation of the origin and the processes of life. Playing with empty and full areas, the simple gestures of her paintings bring forth ungraspable words; the organic shapes of her sculptures, as they develop, meet a sensible world.

First Laid is a publishing house composed of five curators, artists and designers (Jesse Wallace, Thomas Collinet, Louise Cirou, Zoé Sylvestre, Clémence Warnier + Chevaline Corporation Chauvelot), who support every guest artist in the realization of a publication and of a solo show. Through exhibitions and residencies, the collective provides its research on the role of the editorial object and the various ways to feature it in the production of an exhibition.

Deborah Fischer (born in 1992 in Paris) graduated from ENSAAMA in Textile Design and from the École Nationale Supérieure des Beaux-Arts de Paris. For several years, she has been collecting "almost nothings", those elements that have lost their usefulness but that keep in them a plastic and emotional charge. Through this approach, there is a questioning around the environment, the trace that we leave there. By constituting her own "Archaeology of the present", as close as possible to the issues of our society, she also tries to detect the spirit of a place, real or virtual, and to create from what it tells us.

Justin Fitzpatrick (born in 1985 in Dublin) lives and works in Paris. He received an MFA in Painting from the Royal College of Art in 2015. Through painting, sculpture, and writing, he explores human consciousness through the lens of biology.
His fantastical works stage mutating figures, Art Nouveau–inspired lines, and Gothic motifs, where bodies become mechanical spaces. Stylized skeletal forms, plants, and insects emphasize the interconnectedness of species, drawing on cellular science, myth, poetry, as well as reflections on social class and sexuality.

Gabriel Fontana is a freelance designer working in the field of social design. He develops projects that combine art, sport and community education. His area of research? Sport. Not as a performance, but as a genuine social laboratory. By inventing new sports, he explores how our bodies internalise and reproduce norms of gender, identity and power, and invites us to unlearn these codes. The games he creates encourage empathy and offer new ways of thinking about the collective. His game Multiform has been introduced in schools across Europe, showcased at the Paris 2024 Olympic Games, and recently acquired by MoMA, thereby becoming the first queer sport to be included in a museum collection.

Born in 1984, Faye Formisano graduated from E.S.A.A Duperré in textile design and from Fresnoy - Studio national des arts contemporains. Artist and director, she explores in her work at the crossroads of drawing, textile and cinema, the border of identities through fantastic figures. Inspired by science, dance and literature, she draws from the idea of the monster a principle of metamorphosis that questions the notion of the link between humans and their environment. Combining old and new technologies, her films, drawings and immersive textile installations (VR) are presented in film festivals in France and internationally (Sundance, GIFF in Geneva, Guanajato, Mostra de Sao Paulo, Clermont-Ferrand, Etrange Festival). Her work is also present in various art centers and galleries (CAC Geneva, MBDK Leipzig, Paraédolie Marseille, M.E.P Paris, Gr_und Berlin,). She is currently pursuing a thesis in research-creation at the University of Lille and Fresnoy on the use and functions of the veil in cinema as a manifestation of troubled identities, recently presented at the Gaîté Lyrique.

John Fou (in 1983 in Les Lilas) is a multidisciplinary artist. Self-taught, coming from the world of performing arts and more particularly of circus, dance and theater, he develops a practice of figurative painting in which he portrays social relationships between animals of different species, like an allegory of his life, and more generally of human relations. His experience as a dancer is a major influence on his painting, through the way that the protagonists come into contact: they love each other, size each other up, admire each other, crush each other, cling onto each other and seduce each other.

Max Fouchy (born in 1988 in Grasse) entered the Beaux-Arts de Paris in 2009, in Tadashi Kawamata’s workshop, which put great emphasis on personal practice. This freedom allowed him to develop an intuitive approach, based on almost scientific experiments. His work often consists in collecting random materials and objects and revealing their forgotten potential. After obtaining a DNSAP in 2014, Max created the workshops “Le Lance-Pierre” with other artists, within the Salvation Army.

Clédia Fourniau (b. 1992, Paris) explores the boundaries of painting, questioning how images are created and perceived. A graduate of ENSAAMA and Beaux-Arts de Paris, her practice is rooted in constant experimentation, blending diverse materials such as resin, pigments, oils, and mica onto various textile supports.
By applying glossy resin, Fourniau creates a self-reflexive dialogue between the canvas and its surroundings, physically engaging the viewer through reflections. Her work bridges minimalist inquiries into form and color with an expressive gesturality inherited from Abstract Expressionism. Incorporating cryptic symbols and "fake" characters, she seeks to short-circuit the authority of the artistic gesture through a process-driven, studio-based practice.
Winner of the 2022 Sisley Beaux-Arts de Paris Prize and the 2024 Reiffers Art Initiatives Prize, Fourniau lives and works in Paris.

Henri Frachon conducts fundamental research on the birth of the most elementary forms and is particularly interested in the hole. It is by digging and drilling that he seeks to better understand the essence of this mysterious and vital element. Sculptor born in 1986 in Corsica and raised in Tahiti, he graduated from ENSCI-les Ateliers in 2019 and from Arts et Métiers in 2010. He was a winner of Audi Talents in 2020 and of Villa Noailles in 2021. His work has been exhibited at the Palais de Tokyo, the Picasso Museum in Vallauris, and in Japan.

Bérangère Fromont (born in 1975 in Martigues) is a French artist photographer. Intimate, collective and literary references, documentary and staging, are mixed and articulated around the central notion of her work, the notion of resistance. She focuses on what is undefined or incomplete, fragile, and in between. At the same time disappearance and appearance. Between ruins and revolution.

g. olmo stuppia (born in 1991 in Milan) is both an artist and an author. He trained in Barcelona, Paris, and Venice (IUAV University of Visual Arts). Through sculpture, video, writing, performance, and installation, his research takes shape in the creation of works and projects penetrated by his fascination for control devices, eroticism, alchemy, and desire as well as for the archaeological fragment.

Between vestige and anticipation, Sacha Gabilan’s work stages soft, ghost-like architectures marked by wear. Sculpture, photography, and archives converge to think of memory as movement: what persists, distorts, and disappears. His pieces evoke scarred skins, chests, or tombs, held in a constant tension between fragility and monumentality. Through wax, wood, or stretched resin, Gabilan creates surfaces of inscription where the trace itself becomes the true subject.

Bruno Gadenne's (born in 1990 in Cavaillon) work is about landscape and nature. Travels around the world and the gouaches and photographs he brings back are the source of his work. In his oil painting, he tries to create an unusual dimension, a tension. Through a work on the luminous atmosphere, he establishes a double game between wonder and feeling of "disturbing strangeness". A calmness that conceals an underlying wound, a search for the sublime.

Fernanda Galvão’s practice (b. 1994, São Paulo) is rooted in her relationship with nature, enriched by references to feminist science fiction. Through careful observation of living systems, she develops fictional ecosystems and landscapes shaped by a diffuse memory, engaged in an infinite cycle of metamorphosis.
Working primarily with painting, while also extending into installation and video, her practice opens onto autonomous universes governed by their own spatial and temporal logics. Devoid of sunlight or horizon, these worlds suggest the emergence of an elsewhere, imbued with a deeply personal mythology.
Fernanda Galvão has exhibited in institutions and galleries such as the Museu Oscar Niemeyer (Curitiba, BR.), Instituto Tomie Ohtake and Museu de Arte Brasileira (both in São Paulo, Br.), White Cube (London), Casa Triângulo (São Paulo), Andersen’s Contemporary (Copenhagen), Foundry Seoul, and Lyles & King (New York).

Trained as a graphic designer, Giada Ganassin (born in Ivrea, Italy, in 1988 - lives and works in Paris) uses drawing to invite reflection and allow people to feel understood and comforted beyond language barriers. Her research pushes the sign to its simplest form and mixes it with different materials to allow it to enter the daily life of everyone, at the scale of the house as well as the city. Since 2020, she has been imagining designs that rotate endlessly on François Bonnot's ceramics and objects, as the Ideal Office. Bureau Idéal creates objects that tell stories and open up the everyday to reverie and contemplation. The relationship between form and setting is central and one relies on the other to exist: stories unfold on the surface of the objects and revolve around them - without beginning or end.

Laura Garcia Karras (born in 1988 in Les Lilas) defines her paintings as silent spaces. In the space of this silence, a reflection emerges, at once pictural, philosophical and poetical, essentially based on time. She remembers an incredibly powerful sensation that she felt as a child. She took a fossil in her hand; at that moment, she was fully aware that she was literally holding time, embodied by this small stone. She was holding a natural construction, the mineral moulding of a living form, vegetal or animal, whose imprint travelled through time to find itself in her hand.