Bienvenue sur mon blog


Loukia RICHARDS Textile Jewelry from Greece

Loukia Richards, Greek designer, is inspired by the  shapes, colors & motifs of traditionnal Greek embroidery.

« My jewellery is a game of inventing something precious in form and meaning from an unexpected material. I work with textile a material of sacred character in my hellenic heritage — the sacred character is evident both in the uses of the material in the ancient world as well as in the religious ceremonies of the present.
I am inspired by the shapes, colors and motifs of embroidery tradition of Greece, my mother’s country of origin. My recent work is inspired by the neolithic figurines and the cuneiforms of the cycladic civilization: white, simple, very basic. »


Loukia RICHARDS Textile Jewelry from Greece dans COUP DE COEUR folkpixnecklacedetail
Birds & flowers necklace- silk & cotton threads, semi-precious stones

folklrlinknecklacedetail dans fibres / thread
« Link (faces) » necklace -  silk & cotton threads, silver

folklrdancingcuffdetail dans Grece (GR)
Lovers dancing cuff – textiles, wool, silk & cotton threads, pearls, button

cuff – 17th Century Embroidery Interpretation – 2006 (CraftCouncil)[GetAttachmentlr.jpg]

New work from Loukia Richards : Images are from a fibre book produced by Loukia Richards during her stay as an artist-in-residence at Ted Noten Atelier in the Amsterdam Red Light District in May 2009. Loukia Richards describes the project as « One of the most didactic and exciting studies I have ever undertaken ». (blog « The Needle Files« )



to SHOP at « The Shop floor project » (UK)


EXPO ‘Bijoux textiles, Au fil de la Parure’ – Musée des Tissus de Lyon (FR) – 15 Oct 2010-13 Fevr 2011

Bijoux textiles , au fil de la parure

Vernissage jeudi 14 octobre
L’exposition se tiendra du 15 octobre 2010 au 13 février 2011
Exposition en partenariat avec Artefact

Expo Lyon

Dans le cadre de ses Biennales de créations textiles contemporaines, dont la 3ème édition est programmée en septembre 2011, le Musée des Tissus met cette année en valeur des créateurs textiles du monde entier à travers un objet inattendu, le bijou. Alors que le bijou évoque des matières nobles, comme l’or, l’argent et les pierres précieuses, l’exposition «Bijoux textiles, au fil de la parure» dévoile une autre vision des bijoux par le jeu d’entrelacs de fils, de fibres ou de métal tissé. Cette exposition se déroule sur trois lieux créant un parcours innovant au long de la rue de la Charité : Musée des Tissus, Artefact et Hall Prince. Elle regroupe vingt-huit artistes de neuf pays différents. Certains d’entre eux ont choisi des matières innovantes ou surprenantes comme les ailes de papillon brodées ou du silicone injecté dans de la soie. Des parures impressionnantes ou miniatures qui subliment la femme au-delà des codes et des modes.

artistes présentés :

Olivia d’Aboville, Brigitte Adolph, Lily Alcaraz et Léa Berlier, Karuna Balloo, Zena Baroudi, Dalila Belkacemi, Annie Chen, Muriel Crochet, Anaïs Duplan, Emmanuelle Dupont, Michèle Forest, Ghislaine Garcin, Marie-Hélène Guelton, Tzuri Gueta, Sophie Guyot, Marie Leclere, Charlotte Limonne, Frédérique Martin, Rowan Mersh, Laurence Opperman, Ann Pamintuan, Jackie Tadéoni, Aude Tahon, Maïté Tanguy, Yvonne Wakabayashi, Françoise Wintz.

EXPO Tzuri Gueta
Tzuri  Gueta   expose deux Parures

EXPO Lyon - Lilyetlea collier 'perlingot'
Lily Alcaraz et Léa Berlier - collier ‘perlingot’ émeraude - (crédit photo D.R. )





ATELIERS proposés par le Musée :
* Je dis : Mode ! (atelier couture)
Le jeudi 19h00- 21h00
Bijoux textiles
Du 7 octobre au 16 décembre 2010
* Accessoires empruntés à la mode masculine
Du 13 janvier au 24 mars 2011
Tarif : 250€ par cycle
* Atelier bijoux textiles (7-12 ans)
Mercredi 24 novembre 2010 à 15h30
Tarif : 8€
* Les récrés mode (dès 8 ans)
Un cours de couture sur mesure pour devenir styliste et modéliste.
Tous les mercredis 13h45-15h15.
Tarif : 100€ trimestre

34 rue de la Charité F-69002 Lyon
Tél. + 33 (0)4 78 38 42 00
Fax. + 33 (0)4 72 40 25 12
Mél. :


EXPO ‘Hanne Behrens: Textile Techniques In Metal’ – Mobilia Gallery, Cambridge (USA) – 7-27 Oct. 2010

Danish artist Hanne Behrens creates exquisite geometrical jewelry and vessels woven from silver and gold wire. A student of Arline Fisch and Mary Lee Hu, she is a master of textile techniques such as weaving, knitting and plaiting. In 2000 she was commissioned to make a brooch as a gift to Queen Margrethe of Denmark on her 60th birthday. She is the recipient of numerous grants and awards, including Bronze and Silver medals from the Best in Danish Craft and Design exhibition, and has exhibited in galleries and museums throughout Europe and the USA.

EXPO 'Hanne Behrens: Textile Techniques In Metal' - Mobilia Gallery, Cambridge (USA) - 7-27 Oct. 2010 dans BOOKS / BIBLIO 8_Armring_vaevet_soelv._resize9_Halssmykke_vaevet_soelv._resize dans Exposition/Exhibition

10_Armring_flettet_soelv_585_guld._resize dans Gal. Mobilia (US)06Neckacewovensilverand18caratgold_x dans Hanne BEHRENS (DK)


Mobilia Gallery
358 Huron Avenue
MA 02138 – Cambridge
United States
Telephone: 617-876-2109
Fax: 617-876-2110



Available Catalog

catalogue dans techniques textiles

Hanne Behrens - Metal Tekstilt (Exhibition Catalog) – 96 pp

Published by Museum Sonderjylland Tonder 2007 



COUP de … ROUGE avec Lorena PESTANA (Peru) – BIJORHCA (Paris) 3-6 sept. 2010

Classé dans : Amerique Latine,Lorena PESTANA (Peru),PARIS,Salon,techniques textiles — bijoucontemporain @ 0:07

En ce moment à BIJORHCA-Eclat de Mode (Paris)
Du vendredi 3 au lundi 6 septembre 2010 – Paris Porte de Versailles
(Liste des EXPOSANTS (bijoux uniquement))


« Architect by profession, Lorena Pestana finds the inspiration for her designs in the techniques, colours, and imagery that distinguish the native cultures of Alto Marañón in the Amazon Basin of Peru. It was there she learned her knitting skills and absorbed the vibrant designs of the region’s skilful artisans.
Their ancient world served as Lorena’s platform for the development of a more modern aesthetic, one in closer harmony with today’s globalized world, where cutting-edge craftsmanship goes hand in hand with physical comfort.
It is a myth that beauty must not call attention to itself or that elegance must be restrained. Ranging from intricate detail and high complexity to the surprising sophistication to be found in minimalist design, Lorena’s work seeks to harmonize spaces and colour schemes, setting off visual rhythms that trace the interplay of light and dark. Her versatile materials, natural sheens, and durable fabrics remind us that the best jewelry and accessories can readily adapt to different moods – from formal to casual.«  

COUP de ... ROUGE  avec Lorena PESTANA (Peru) - BIJORHCA (Paris) 3-6 sept. 2010 dans Amerique Latine 5070_1115275535300_1629311865_287145_4523114_n
Lorena Pestana JoyeriaColeccion 2009 « Floraciones »

6170_1139776467808_1629311865_363474_5177310_n dans Lorena PESTANA (Peru)
Lorena Pestana JoyeriaColeccion 2009 « Floraciones » Collar ‘bulbo rojo’

6170_1148576527804_1629311865_391178_3398416_n dans PARIS
Lorena Pestana Joyeria – Pulsera con flores en corte laser con vinil reflectivo platedao y mostacillas rojas

6170_1139776427807_1629311865_363473_7278951_n dans Salon
Lorena Pestana JoyeriaColeccion 2009 « Floraciones » – Collar ‘bulbo

6170_1139776267803_1629311865_363470_3532521_n dans techniques textiles
Lorena Pestana JoyeriaColeccion 2009 « Floraciones » – Arete Bulbo


Jessica Worley, bijoux textiles pour « cocooner »

Jessica Worley (UK) : bijoux_tout_doux, « doudous », cocons de tissus, ….

« Using a variety of textiles techniques my work is concerned with the body and in particular its relationship with clothing.  I am interested in the fact that together they represent an amalgamation of the actual and the invented body.  I am fascinated by the notion that all clothing alters the body in some sense in that any garment will change the line of the body or impose a cultural association.
My work represents these ideas resulting in pieces that reference the body itself as well as the garments that create its extensions. The pieces themselves float ambiguously between ornament and attire. The wearer decides how they interact with the piece, it can be held, carried, fastened, or simply set aside to become part of the surroundings. »
Jessica Worley- body-clothing extension – 2007 -  my FAVOURITE ! Bisou

Jessica Worley, bijoux textiles pour
Jessica Worley- Munich series created for « JAMES exchange » – ‘Schloss Nymphenburg’ 2009

Munich Series. Alte Pinakothek 2009
Jessica Worley- Munich Series. Alte Pinakothek 2009

Body/clothing extension (pt 1) 2006.Body/Clothing extension (pt1) 2006Body/Clothing extension (pt 1) 2006
Jessica Worley- Body/clothing extensions (pt 1) 2006



COUP de … ROUGE – Massiel Mariel – « Atipika » : PAISAJE PORTABLE


ATIPIKA  es una propuesta de joyería contemporánea chilena, inspirada en la naturaleza y vinculada al rescate de tradiciones y expresiones culturales propias de la identidad latinoamericana llevadas a un nuevo contexto al experimentar con materiales innovadores y sustentables.

Para los amantes de las JOYAS CON SENTIDO, que buscan diferenciarse y entienden la joyería como un lenguaje artístico capaz de comunicar y emocionar. Colecciones de joyas únicas con un sentido propio, HECHAS A MANO  y en edición limitada que buscan convertirse en AMULETOS íntimos y objetos de poder.

Estamos continuamente creando y experimentando con nuevos materiales, aquí les presentamos una selección de nuestras colecciones en  plata, lana de la Patagonia, piedras naturales, cuero de salmón reciclado y textiles bordados del norte de Chile…

Los esperamos en el taller para conocer más novedades,



COUP de ... ROUGE -  Massiel Mariel -
Collar HILONEGRO – 2010



26667_1330275176769_1227662969_30754689_5744426_n dans Massiel Mariel MUNOZ (Massiel del Mar)(CL)

collar_latirana3_HOME-675x450 dans techniques textiles
collar ‘la tirana’

Colección Lágrimas de Arauco

broche- 2008


Bijoux empaquetés, rebrodés … bien ficelés ma foi ! – embroidered jewelry

On peut dire que je me suis laissée embobiner … ;-)

j’aime particulièrement ces « petits bouts de métal » dessinés, percés, délicatement rebrodés, alliant le dur et le tendre, le moderne et le « vieillot, dans une technique patiente et méticuleuse  ….

Ici les techniques textiles utilisées sont essentiellement la broderie, mais également le crochet

Contemporary South African Studio Jewelry from the Stellenbosch Area at Velvet da Vinci Gallery,
Kirsten Gerber “Alice Dutton 1880-1983″ Chatelaine empaquetés, rebrodés ... bien ficelés ma foi ! - embroidered jewelry dans Bettina GOTSCH (DE) bague-diamant01
Paris design duo Jia Style (Xiaojia Wang) (FR) – bagues – soie, perles, argent (to shop on Etsy)

1116 dans blog TheCarrotBox
Sarah Rhodes (UK) – rings

Sarah Rhodes – ring 2009 Sterling silver, pink cotton thread

erop_01_goetsch dans Catherine MAYMO (CH)
Bettina Götsch -ornamentale Strukturen  (Thesisarbeit – 2009 – HAWK fachhochschule)
Lisa Juen – ‘Secrets’ ring- ‘Reality & fantasy’ serie – silk floss, enamel on steel

02_01 dans Corina RIETVELD (NL)02_05 dans COUP DE COEUR blank dans Eszter MATE (HU)
Eszter Maté  (HU)

Catherine Maymo - crocheted rings
Catherine Maymo (Barcelona-based Swiss jeweller) Crocheted rings 

green%20coverings%203%20website dans ETSY.comgreen%20coverings%201%20website dans JIA Style (FR)
Corina Rietveld (NL) ‘bordure‘ rings (broderie)

Corina Rietveld- EXPO craf2EU 'blooming fantasies'
Corina Rietveld- exhibited at craf2EU ‘blooming fantasies’

Sorbete de fresa by Sociedad Estatal ddi.Susan Cross 'Concentration' Brooch
Jimena Bolaños – ‘Sorbete de fresa’ (Exposición ‘The Design Circus’ madrid 2009-2010)
Susan Cross ‘Concentration’ Brooch

Paraissez ce que vous êtes ou soyez ce que vous paraissez 12 Ozay Emert
Özay Emert (TR) – neckpiece ‘Either seem as you are or be as you seem’ 2008 Silver, silk thread

Vered Babai- hibiscus brooch _2008
Vered Babai (IL) – hibiscus brooch – silver, coated copper wire - 2008  – « took me a month to finish it …« 

19b dans Jimena BOLANOS (ES) 19a dans Kirsten GERBER (ZA)
Marieke de Vos (BE) – broches et boucles d’oreilles

 Nicole Jacquard, 'Leaf Sampler' Brooch in sterling silver, fine silver, and silk thread. Nicole Jacquard, 'Bird Sampler' Brooch in sterling silver, fine silver, and silk thread.
Nicole Jacquard (US) ‘Leaf Sampler’ Brooch in sterling silver, fine silver, and silk thread
Nicole Jacquard ‘Bird Sampler’ Brooch in sterling silver, fine silver, and silk thread (Facere Gallery)

 Lynette Andreasen, 'Traces: Squirrel' Brooch in sterling silver, copper and embroidery thread.
Lynette Andreasen ‘Traces: Squirrel’ Brooch in sterling silver, copper and embroidery thread

2893_83125652515_26480237515_2482443_6706314_n dans Lisa JUEN (CN)
Lynette Andreasen (US) – Graduate Work – 2007

n26480237515_1078426_8068 dans Lynette ANDREASEN (US)
Lynette Andreasen (US) – undergraduate Work – ‘Bound By Color’ sterling Silver, Embroidery Thread


Willemijn de Greef - brooch 2006 


Image de prévisualisation YouTube




EXPO ONLINE at JEWELLERY SCAPE -  TEXTILE  section dans Colleen BARAN (CA) enter

n1260346271_30199513_728 dans Exposition/Exhibitionn1260346271_30199543_8926 dans feutre / felt
Silvina Romero (Arg.)- necklace ‘Abajo del mar’ textile, fabric, cotton & silk thread

8532_1271238743865_1316778870_797693_6670529_n dans fibres / thread
Paulie Schwartzorganza de soie

16456_1191427138777_1021340133_30489297_676614_n dans Kate CUSACK (US)n791629493_957179_1385 dans Paulie SCHWARTZ (DE)
Sabrina Bottura – ‘black’ ring 2009 – felt, pearl black, silver
Karin Carmeliet

26844_412424436258_644906258_5561743_352253_n dans Ruth MOORE (UK)
Colleen Baran – Felted Saucer Rings – 2007 – Felt, sterling silver

24400_101126396589329_100000759086458_31481_4522616_n dans Sabrina BOTTURA (IT)
Elena Lorenzi   – Necklace in twine, coloured metal wire and braid of different colours

21974_482801860143_638895143_10956301_6710955_n dans Silvina ROMERO (RA)
Federica Fabiano « Gradient » – necklace made by copper yarn coated with cotton yarn

26080_329449913595_709643595_3628310_6879695_n dans Susanna MATSCHE (DE)
Cristina Tajè  ‘Rosa, Rosae’ – necklace in felt with applications of copper, tin, iron and brass

22074_320368926893_739666893_4588202_3578163_n dans techniques textiles
Ruth Moore – sealife inspired neckpiece – 2009 – Heat formed synethetic fabrics, plastic beads, cotton thread

13051_1289991371110_1270006655_842991_7965855_n dans textile
Kate CUSACK zipper necklace

EXPO JewelleryScape- TEXTILE Susanna Matsche (DE) - Breast pins - leather, silver, fur
Susanna Matsche (DE) – Breast pins – leather, silver, fur

EXPO JewelleryScape- TEXTILES  - Thomas de Falco (IT) - cotton, wool, silk, leather iron necklace
Thomas de Falco (IT) – cotton, wool, silk, leather iron necklace


COUP de COEUR ! Caroline Broadhead

Caroline Broadhead studied jewelry in London with such distinguished artists as Wendy Ramshaw, Gijs Bakker, and Emmy van Leersum. A visit to East Africa in the late 1970s encouraged her to create jewelry that responded to the form of the body. By the mid 1980s, her constructions had become increasingly removed from jewelry as she concentrated on conceptual aspects of clothing and installation art. Since 1978, Broadhead has taught textiles, jewelry, ceramics, and other disciplines at Brighton Polytechnic, Middlesex University, and Goldsmiths College, University of London.
Education: 1969-72, Central School of Art and Design, London; 1968-69, Leicester School of Art, England – (Museum of Art & Design MAD)

« In the 70s and 80s, I was exploring ideas about jewellery, the way it could be handled, change on or off the body etc, ideas that were best expressed through materials of a certain colour, weight or flexibility. I made work out of coloured cotton threads and rope and my tufted bracelets used very fine nylon threads. And as my ideas were developing, I became more interested in the non-precious materials, ones that did not have a recent history in jewellery. By the mid 1980s I was making much larger scale pieces in woven nylon – veils, collars and sleeves. This scale was exciting as it allowed me to examine a spatial awareness around the body in a new way. For example, the Necklace/Veil was woven out of nylon line. It married something that you could wear round the neck with something you could also twist up to become a veil. It became a screen to look through to the wearer, or for the wearer to look back, as much as something to look at. These larger pieces that covered more of the body led me to clothing forms which gave me greater scope to express ideas about the whole person. These were not fashion but there didn’t seem to be a particular category for my pieces to be located, except art. »

COUP de COEUR ! Caroline Broadhead dans BOOKS / BIBLIO 1997_6_5_alt11997_6_5 dans Caroline BROADHEAD (UK)
1997_6_5_alt2 dans COUP DE COEUR
Armpiece 22 in 1 - Cotton, nylon, monofilament – fabricated, sewn – 4 3/4 x 112 in. (2,84 m long) -(Photo Credit: John Bigelow Taylor, 2008)

1997_6_4 dans fibres / thread
Neckpiece – 1978 – Silver, wood, dyed nylon monofilament
Caroline Broadhead brush neck piece – wood, nylon – circular wooden frame with nylon fibres in tufts like brush, pointing inwards where they touch in the centre
Caroline Broadhead arm piece; nylon monofilament arm piece woven into a deep cylinder with both ends of the single thread hanging free and terminated with a blue plastic cylinder
Caroline Broadhead neck piece; nylon monofilament neck piece woven into a shallow cylinder with both ends of the single thread hanging free and terminated with a green plastic cylinder
Necklace/Veil  woven out of nylon line

« How important is function in your work?
Jewellery made me consider the fit and use of objects on the body in a practical way, but the function of my pieces has been to give the viewer or wearer a particular experience, or to start a train of thought. When I started making garments in the 80s they were wearable – even if they didn’t look it. The function of wearability was not my aim, the important thing was that there was a possibility that they could be worn. They were a way of exploring and expressing ideas. Clothing as art was an area in its infancy in the 80s.
So if function is no longer relevant, what are you trying to do with your garments?
I used the garments, and subsequent work, to explore notions about a person. The first shirts I made gave form to the gestures a garment makes you do when you put it on. For example Wraparound Shirt makes you ‘put the other arm in’, you keep repeating that gesture to put it on. But I also wanted to create pieces that had a strong visual impact when they weren’t being worn. In my work with dance, gesture and movement are also important. I have created dresses that direct the dancer’s movements and set the scene for these movements.
Can you explain your attraction to textiles?
I started working with textiles before I realised that that was what I was doing. Most of my work is working with textiles, or about textiles. I like the fact we are surrounded by it in various forms, its feel, and what it does. I enjoy the sense of touch. It’s an amazing manufactured material which you then add your manufacturing process to – often you meet the material in this half-way position. It’s already had a human touch.«  (Interview by Diana Woolf – nov 2009 – « maker of the month » –

TNJ00879 dans Grande-Bretagne (UK)
Caroline Broadhead catalogue cover (open showing front and back) Arnolfini Gallery, Bristol November 1981

« This catalogue is of an exhibition of Caroline Broadhead’s, whose work at this time was inspired by having taken up embroidery in Kenya. Using the practice of wooden hoops for tensioning the material, she used laminated wood and the industrial nylon monofilament which she colour-dyed and utilised in this body of work. Work which was of a playful and colourful yet rigorous and controlled nature fashioned into bracelets, necklaces and brooches. These became canonical works in the repertoire of one of the five major presences in British New Jewellery : Caroline Broadhead, Pierre Degen, Susanna Heron, Julia Manheim, and David Watkins. »
Caroline Broadhead, Seven seams – skeleton of clothes - (winner of Jerwood Prize for Applied Arts- Textiles in 1997 )

In her early pieces she employed flexible nylon monofilament structures that could be collapsed to form a neckpiece, pulled up to form a ruff effect or even expanded to cover the face and head (e.g. neckpiece/veil, 1983; see Dormer and Turner, pl. 161). She also used multi-coloured woven flax for broad hooped necklaces and bracelets (e.g. tufted necklace, 1979; see Houston, pl. 12). The range of plain and coloured acrylic jewellery produced by C&N Buttons & Jewellery Production, a company she formed in London in 1978 with Nuala Jamison (b 1 Oct 1948), had a broader appeal. In her work Broadhead proposed new functions for materials and techniques, going beyond the idea of a unique item of value, to fuse clothing and decorative accessories in a complete and imaginative ensemble. In the 1980s she created a new mood with elusive body garments: Cocoon, Seam (both 1986) and Web (1989; all London, Crafts Council Gal.) are cotton and nylon fabrics that, once wrapped, form surreal patterns that play on an ambiguity between clothing and personality. Broadhead has been recognized as a leading innovator in the New Tradition tendency in Europe, a generation of designers who, over two decades into the 1980s, revised many of jewellery’s conventions.



0905634365.02._SCLZZZZZZZ_ dans techniques textiles

Bodyscape: Caroline Broadhead 
By: Pamela Johnson 
Art Books Intl Ltd – 2000 – 32pp


COUP de COEUR ! Luis ACOSTA, beyond textile and paper …..

« Como diseñador me interesan particularmente las formas. Cuando descubro una de estas que me atrae la amplío o repito, después, me concentro en probar todas las posibilidades que me brinda esa forma que me ha de servir como base para el desarrollo de un diseño.
Me es importante trabajar con formas y colores. Las primeras me dan la dimensión del trabajo mientras que los segundos me proveen de calidez.

Una de las maneras para concretar esto es ‘jugar’ con una forma y varias capas de material, papel o hilo de papel, de diferentes colores.
La rigidez está dada según la cantidad de capas de material que he cosido juntos. » (Luis Acosta)


« As a designer I am particulary interested in form. Once I’ve found a form, I enlarge or repeat it. Then I concentrate on using the possibilities of that form as a basis for the development of a design.
It’s important to work with both shapes and colour. The first gives dimension to the design while the second provides warmth. One way of doing this, is to ‘play’ with a shape and several layers of different coloured materials, which sometimes gives rise to an intriguing hybridization, conjuring up the impression of something plaited.« 


Los objetos de papel están confeccionados con la repetición de distintos tamaños de una sola forma.
La rigidéz está dada según la cantidad de capas de papel que se han cosido juntas, siendo estas de distintos colores.

The paper objects were created by repeating a differents sise of a simple basic shape.
differents types of paper, six stichted layers of paper, sewn together – diameter 30 cm, high 5 cm, 

COUP de COEUR !  Luis ACOSTA, beyond textile and paper ..... dans Amerique Latine 1-collier_1
Luis Acosta - collier

10-collier_3 dans COUP DE COEUR
Luis Acosta - collier

8_paper_bracelet dans Luis ACOSTA (RA)
Luis Acosta - pulsera – bracelet

11_paper_bracelet dans papier / paper
Luis Acosta - pulsera – bracelet

17_paper_bracelet dans techniques textiles
Luis Acosta - pulsera – bracelet
Luis Acosta - pulsera – bracelet



Valérie Salvo |
dochinoiu | | Créer un blog | Annuaire | Signaler un abus | Françoise Fourteau-Labarthe
| Aidez les jeunes artistes
| Tableaux de Christian Maillot