GAIUS

My curation is a dialogue between art and design unfolds with quiet intensity.
François-Xavier Lalanne’s Chien Assis (1982) keeps silent watch — a bronze guardian poised in stillness and wit.
Above, Robert Delaunay’s Portrait de Jean Metzinger (1906) radiates early modernist energy, its fractured color harmonizing with the lyric abstraction of Joan Miró’s Femme nue (August 1932).
Between them, time collapses — a century of French creativity distilled into one wall.
Beneath, Philippe Anthonioz’s cast bronze bench rests like a sculpture in itself, weighty and serene, while Maurice Jallot’s circa 1930 folding screen shimmers like a nocturnal horizon, its lacquered planes dissolving into gold.

A study in restraint and resonance, this composition stages the conversation between movement and stillness — between the living soul of objects and the silent theatre they create.