For his first solo exhibition at a public institution, French painter Samuel Richardot continued the exploration of his chosen medium and its methods and forms. He employs a range of mark-making strategies—meticulously stenciling shapes with the help of paper cutouts, allowing paint to drip or bleed, or confronting the canvas with turpentine or flame. Often, Richardot references a sound, smell, or tactile impression in the shapes that he gathers in his paintings, thus proposing a synesthetic relationship between image and experience. Here he also exposed the process-oriented nature of his art