“tresser” brings together recent works by Jimmy Beauquesne, Omar Castillo Alfaro, and David Weishaar in the gallery’s Salon space. Conceived as an immersive proposition, the exhibition revolves around the idea of interlacing—of forms, narratives, and relationships—where each practice intertwines with the others without ever dissolving into them.
To braid (tresser) is to intertwine, like composing garlands of flowers to welcome the other, to celebrate them, to make space for them. Within this dynamic, Omar Castillo Alfaro presents a group of sculptures from his project “Naab.” In Mayan, naab means flower. In Mesoamerica, several centuries after Christ, a school of painters signed their works using flowers, making this motif a ritual symbol situated between two worlds: the terrestrial and the aquatic. In the artist’s work, the flower thus becomes a threshold, a passage, a sign of circulation between different forms of life and temporalities.
To braid is also to connect and to transmit—to move from one to another by creating bonds. It is also to tie—and in this gesture, friendship occupies a central place. The word is not insignificant: to love one’s friends is to form a knot, a series of regular and solid links that allow one to anchor oneself, to hold. In his paintings, David Weishaar draws his figures—himself or those close to him—into nocturnal worlds shaped by fantastical or gothic references. His scenes evoke chosen communities, tightly knit groups where intimacy blends with shared imaginaries, between protection, desire, and projection.
To braid is also to weave connections, to experiment, to practice—to make friendship a refuge, a structure of welcome. A gesture that becomes, in turn, an act of resistance. Jimmy Beauquesne’s drawings, made on curtains as well as on paper, belong to a form of magical realism in which registers and temporalities intertwine. The intimate meets popular culture, the ornamental merges with the science-fictional, and from this entanglement of lines emerges a sense of disturbance, a perceptual instability that opens up new modes of reading.
“tresser” thus asserts itself as a figure of three: forming a whole without reducing itself to unity. Remaining three, preserving singularities, while allowing a shared space to emerge—fragile and powerful—where the works respond to, support, and amplify one another.

Text by | Thomas Havet