Dove Allouche, French, born in Paris in 1972, he lives and worked in Paris.

Although drawing is at the heart of Dove Allouche’s work, it is often linked to other mediums such as photography and reveals itself to be the source of numerous experimentations.

Few students carried out such projects during their training at art school, but Dove Allouche already conceived at the time a series which took up the whole of his five years of study.

One single photo gave place to 240 sketch books. The tone was set and each of these projects would be the fruit of a long investigation.

Dove Allouche questions time and history. The subject conditions the medium which is never adopted by chance, as is well illustrated by one of his latest series entitled Chemins dans la caillasse d’ombres. It was made following six months of investigation in the Paris sewer network

he is represented by the Gallery Gaudel de Stampa.

Catharina van Eetvelde, Belgian, born in 1967 in Ghent, she lives and works in Paris.

The line is rigorous, the colour applied with extreme precision. Catharina van Eetvelde’s drawings present an implacable universe, within the confines of science and mechanics or cartography, depicted with great exigency.

Although her virtuosity is not revealed through demonstrations of shading and scrolling, her mastery is by no means less evident. The stroke is hard, dry. She even says incising the paper. “That’s the great difference with painting.

In drawing, there is not only pressure and concentration but also something that happens in the sketching. As I try to be precise, I sketch.” In this manner, she sketches unidentified universes of ice. The line is almost like a razor slicing into the paper.

she is represented by the Gallery Anne Barrault, in Munich by the Gallery Tanit and in Brussels by the Gallery Meert-Rihoux.

Thomas Müller, German, born in 1959, he lives and works in Stuttgart.

There might well be two Thomas Müllers. The one would be the author of drawings in structured lines. The other would bring chaos to the fore. This dichotomy between empty and full, between gentleness and violence is precisely what makes him move forward in a permanent dialogue with his sheet of paper.

Some of the latter can be read by the elliptic stroke of a bic or a pencil, while others let a slither of ink escape. Some of them leave no place for the white of the paper, while others grant it as much importance as the figurative form.

The artist says with amusement that he does not want to create “a Thomas Müller style of drawing”: “Because my work does not develop in a linear sense but in a circular and in a spiral sense, in different directions at the same time.”

He is represented by the Gallery Vidal Saint Phalle in Paris and the Gallery Jan-Philipp Fruehsorge in Berlin.