For his second exhibition at the gallery, Nick Mauss presents a new body of work in the spaces located on the second floor at 10 rue Charlot.

Over the past two decades, Nick Mauss has developed a practice that subverts categorization and refuses any hierarchy between media, connecting painting, gesture, memory, and implications of space with writing, performance, and display.

For this exhibition, Mauss focuses his process of reverse-painting mirrors to the scale of the viewer's gaze, folded onto closed volumes that appear to be devices for reflecting oblique slivers of space and social performance. Painted “derriere le miroir”, these objects stand in dialogue with a series of works in etched, double-dyed silk-velvet that are made through a process of chemical subtraction, by which traces of figures and painted marks are literally “unwoven” into the textile.

Among these reverse-painted and “devoured” motifs, Mauss introduces hollow, wall-mounted figural heads in sheet-aluminum. The fragile negative molds are formed on enlarged replicas of modernist-archaic heads created in the 1920s by Eyre de Lanux, an artist, writer, and designer whose work has figured in several of Mauss' previous exhibitions, and who returns here, in estranged form, to Paris, where she lived and worked with Eileen Gray and Evelyn Wyld, among others.