Personal Picks: Alix de Lataillade

Personal Picks is a new format where someone from our team selects four artworks that resonate with them on a personal level. From intimate favorites to unexpected discoveries, each selection offers an individual, behind-the-scenes glimpse into the gallery’s evolving universe—one artwork at a time.

Next up: Alix de Lataillade. As Paris Gallery Manager, Alix has accompanied the space since its opening, living in close proximity to the artworks that shape its daily rhythm. Nearly a year after the gallery first opened its doors in Paris, her perspective is guided by the quiet intimacy that develops through time spent with art, observing it, installing it, sharing it with artists and collectors, and allowing it to gradually intertwine with personal memory.

For her Personal Picks, Alix reflects on the works that have marked this first year most deeply. Her selection is rooted in tactility and presence: pieces that resonate through texture, balance, and the physical experience of encountering them in space. Moving between material sensitivity and lived experience, her choices reveal how artworks can become anchors for memories, each one tied to a moment, a place, or a feeling shaped within the gallery walls.

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Opening a gallery means living in close proximity to the works. They inhabit the gallery walls, of course, and in doing so they accompany my days, gradually intertwining with my own memories. Over time, an intimate relationship takes shape – one that is both emotional and deeply sensory.

On the occasion of the gallery’s first anniversary in Paris, I felt compelled to return to a selection of pieces with which I have developed a particularly strong bond. Presenting them at the gallery or at art fairs, observing and handling them, engaging in conversations with the artists or collectors — these repeated gestures create a genuine sense of closeness. There is something precious about the physical relationship to an artwork. I value feeling their presence in a space, watching how they inhabit it and how they can subtly transform it.

I will begin with Liam Stevens. It was an immediate coup de cœur when I first arrived at the gallery — his exhibition in Barcelona was the very first I saw upon joining the team. One year later, I have the privilege of preparing his first solo exhibition in our Paris gallery. What moves me most in his work is the texture of the textile canvas. I lived for three years in Côte d’Ivoire, where textile is deeply embedded in contemporary creation; that experience profoundly shaped my sensitivity to this medium. Standing before his works, I reconnect with that attention to surface, to weaving, to materiality — qualities that resonate deeply with me.

I then chose Aquella forma d’arbre by Bruno Ollé. I had the pleasure of presenting his work at Art Paris and later at Art Antwerp. His polyurethane pieces strike me with their apparent density, almost mineral in quality, which contrasts with their true lightness. There is also a sense of playfulness, of assembly, of puzzle-like construction. Returning to Paris was also a way to reconnect with my family, particularly my younger brother, with whom I share a very close bond. His work awakens that part of my childhood to which I am deeply attached.

Enrich.R opened 2026 with his solo show in Paris. I loved living among his canvases, like MARGE 1, because I have a deep sensitivity to works that assert their texture. When advising collectors, I often ask: How do you connect to the materiality of a painting? It helps me better understand their relationship to an artwork. Enrich.R’s pieces invite an almost tactile experience; their surfaces catch the light. These are works that require closeness and reveal themselves in the details. Their texture creates a powerful resonance within the space.

Finally, I selected Point G, one of Laurent Martin “Lo”’s mobiles, whose work we showcased in Paris in September 2025. This kinetic piece fills the room with its presence while maintaining a rare delicacy. I could spend hours observing the fragile balance of the work, marveling at the subtle details of the bamboo and ceramic. I love the way it unfolds in space, how it interacts with the architecture and the light. It is never quite the same, changing with the angle or the time of day.

Ultimately, this intimate, daily, and tactile engagement with the artworks shapes both my life at the gallery and my personal memories. Each piece marks a year, a place, a memory — all of which I hold dear.
Alix de Lataillade