Willmann describes himself as something of an image collector.
"There are two types of images I'm drawn to: those from search engines, often the top results, which evoke a sense of deja vu and carry collective meaning," he explains. "And then there are images from my daily life, captured on my smartphone — more intimate, serving as witnesses to fleeting memories or moments."
His artistic process begins with images layered in Photoshop, where one obscures the next in a series of overlapping compositions. This approach creates a visual complexity that makes the original sources nearly impossible to discern.
Once the digital composition is printed onto canvas, Willmann transitions to traditional techniques, using a paintbrush to reinterpret the imagery. For him, painting is a way to pause, reflect and reconnect with the images, breathing new life into them. Amid the dynamic, chaotic brushstrokes, new landscapes emerge.
His residency in Beijing became a rich source of inspiration, captured using this same method.
"I particularly liked this season in Beijing, especially for the quantity of leaves scattered in shades of green and yellow. It sometimes looked like an infinity of pixels that would compose foliage," he says.
The eight works on display, whether horizontal or vertical, share a consistent size — a deliberate choice by Willmann. He explains that the dimensions mirror the windows in his Paris studio.
"The history of windows is fascinating, as it weaves through both the evolution of art and the advancement of technology," he notes.
Nicolas Pillerel, minister counselor for culture, education and scientific affairs at the French embassy in China, highlighted the significance of the exhibition, describing it as a key cultural event in Beijing commemorating the 60th anniversary of diplomatic relations between China and France. He also thanked the gallery and its founder "for their unwavering dedication over the past decade, fostering communication and creation among young artists from both countries", he says.
