Quelque-chose à glisser (Something to slip in)
I first encountered Léa Chotard's work at a group exhibition dedicated to students and graduates of the EESAB, organised at the Ateliers du Vent in Rennes in March 2025. Among the fifteen or so artists featured at the event, Léa's painting inevitably stood out for me. First of all, because of its large horizontal format (120 x 200 cm), which made it impossible to overlook... Then because of its colours: fluorescent pink mixed with red and orange tones, contrasting with white. Finally, it was the emotion that emanated from the scene. Two children lying on deckchairs, their eyes half-closed because of the sun, smiles on their lips and apples in their hands. I later learned that these two children were Léa and her twin. As is often the case, figurative painters draw inspiration from their own lives. They and their loved ones are their primary subjects. After several tours of the exhibition, during which I also discovered the work of Rosalie Maillard, I remained quite fascinated by Léa's painting. A few weeks later, when I went to meet Rosalie at the Beaux-Arts in Rennes, I came face to face with Léa's painting, which Rosalie had stored in her studio space. This painting is decidedly hypnotic.
It is early April, and I have just acquired a small exhibition space where I will be showcasing a few artists. Léa's painting is not part of the selection because the space is too small and cannot accommodate such large formats. Not to mention that I have not yet met her. That happens at the end of May, a few days before she graduates. I go to her studio, where I meet Léa and her dog, and together we go outside and look again at this famous painting from Les Ateliers du Vent (entitled Quelque-chose à glisser). She takes the opportunity to show me other works in the same vein, but I remain drawn to this painting, even though I have already seen it twice. She tells me, amused, that one of her teachers wanted to buy it. Afraid of seeing it slip away, I reply that if it hasn't been sold yet, I would like her to keep it for me. It's not my usual practice when I start a relationship with an artist, but I end up buying it. We parted ways after an hour or so, during which we discussed her career, her work, her aspirations, and in particular her ambition to make a living from her art. It is always encouraging for a gallery owner to see a young artist determined to make a career out of their craft.
Before the summer break, I visit a new space with interesting volumes, undeniable character and an ideal location. Located at 4, Place du Parlement de Bretagne, this space will become my permanent gallery. In September, we decided to present Léa's work for the inaugural group exhibition at this new venue. The opening was set for 2 October. We also agreed to show the large painting in November, during a second exhibition dedicated to large formats. Unfortunately, things did not go as planned. At the end of September, we were deeply saddened to learn of Léa's passing. In consultation with her family, we decided not to present her works alongside those of other artists, believing instead that her paintings deserved to be discovered on their own. The idea of a solo tribute exhibition then emerged.
In a report about her, her brother Malo asks her why or for whom she paints. Léa replies: 'I paint as much for those who love my art as for those who don't.' And the least we can say is that her painting was wholehearted and uncompromising. I only knew Léa for a short time, but her works reveal an artistic maturity that is quite rare for a 25-year-old artist. Her work consists of accomplished themes and series, although it was clear to her that the learning process was never over and that she still had many directions to explore. But already, she can take real satisfaction in where she is: her painting will be seen. Her works will be discovered, loved or not as she wished. And it is with all the enthusiasm we can muster that we will bring this exhibition to life.
Jonathan ROZE
Rennes, January 2026