Thank you to Paula Marvelly from the Culturium for this publication from mai 3 2020!


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In(2)Visible ongoing Research

Making transparent our collaborative way of ART MAKING and ART SHARING, we are two artists separated by geographical distance, committed to documenting our year long RESEARCH on ART and MINDFULNESS. Exposing our most intimate observations, our mission is to VISUALIZE THE INVISIBLE through a JOURNEY INTO SILENCE.

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Instagram page : in2.visible

Inner Sight,
N5 : Observing
Ink, pigments and water pencils on paper, 30x40cm

Our documented research in its raw vulnerable journal-like shape, highlights the PROCESS and opens to a dynamic conversation rather than a final product. Our BLOG invites you into our journey through alternating insights and artwork by Paris-based artist TAL WALDMAN and American artist FIONA MOREHOUSE.

In FEBRUARY / MARCH: I started GENIUS LOCI (8 chapters) / Searching for the invisible essence of the mountains, the genius loci, I practice repetitive drawings of the same situations while exercising patient observation. Meanwhile Fiona is Seeking in TAP ROOT  to illuminate the essence of the inner landscape,and guidance from the trees.
In APRIL / MAY : (6 chapters)Entering the tragic period of confinement du to the Covid19 pandemic, I sense the need to structure the research by examining common qualities of art making and inner work; turning to SACRED SYMBOLS. MeanwhileFiona : EXPOSURE (3 chapters) / Through immersive nature studies, a passageway between worlds is discovered.
In MAY / JUNE : In COLOURS VIBRATORY RELATIONSHIP (8 chapters) , the strong ‘Tree of life’ symbol bring me to put aside the form and concentrate on simultaneous contrast between pairs of colours, examining their interaction to each other and to me. Meanwhile Fiona is reconnecting with the theme of ‘As Above, So Below’, to Alchemy with the 3 essentials of the universe

…….And the research continue……..

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THE GROOVERS, MY FAVOURITE PERFUME, ANIMA MUNDI…and many others drawings for the new collection of Wall&Déco


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Textile and rugs

Glass, wood, paper, metal, ceramics….or…air, wood, metal, earth 🙂

porcelaine and clay,

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The transition to a new year is an opportunity for me to remember to be grateful, for being alive, for the love of my family and friends, for the trust and support of my partners. I wish for us all to maintain this spirit throughout the year, and with this in mind, focus on the essential, deepen what needs to be deepened, share what can be shared. :::::::::HAPPY NEW YEAR!:::::::::

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In this festive atmosphere, please note my coming collective exhibition to start the year with ‘A KIND OF MAGIC’!
Between the 18/1 to 15/2 2020- at the Memoirs of the future gallery Paris.
I will exhibit 5 of my “Directed Randomness” works, (a taste for those who missed my last larger exhibition).

Exhibition vol 2, exploring the territories, whether physical or mental, linked to the human need of understanding our environment, and seek answers to the fundamental questions about the infinity and spirit.
with me, Collectif Sansraison / Couli art / Rosalyn Driscoll / Luz Fandino / Margarete Kiss / Fiona Morehouse / Zoe Grindea

Photo : projet Hasard Dirigé
As above so below, 2019
mix media sur papier

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SMALL FORMATS &OBJECTS A Weekend exhibition at Simplon galerie 6-8/12

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Thank you Samantha Deman of Arthebdomedia for the interview!

Between control and ‘let go’ with Tal Waldman

Born near Tel Aviv, Tal Waldman studied fine arts and architecture in Israel, then in Germany and France, where she moved to Paris in 1996. Studies punctuated by numerous travels – through Australian continent, Asia and Europe – and encounters that continue to nurture his practice as his inspiration. Playing with boundaries, his approach is at the crossroads of the arts, design and architecture. After conducting several experimental and collaborative projects alongside art craftsmen – one of them, Mémoires brodées (2011-2016), also included the participation of a journalist and a photographer – the artist For some time now, he has been developing a more intimate research, refocused on drawing and questioning the place of chance and the subconscious as creative tools. The result of this new exploratory work, his series Hasard Dirigé will be exhibited from 6 to 30 November at the gallery L’entrée des artistes, in Paris. For the occasion Tal Waldman agreed to engage in the play of words.


“I remember long moments spent alone, reading in my treehouse, studying plants and learning to draw, to listen to them. music, sitting in the same position as my dog, watching the vinyl turn. They were intense moments of silence, exploration and concentration. I remember a phrase from Proust that said something like “you will never experience anything as intense as those afternoons you spent reading in your childhood” … I guess creating is looking for what silence and the taste of things peculiar to childhood. ”

Woman, Tal Waldman.


“For me, drawing is as natural and automatic as writing or speaking. I started drawing very young and I then explored nature further, in a figurative mode, body gestures and, more broadly, the graphic arts. Later, I had the opportunity to study miniature drawing in India, as well as technical drawing during my studies, then my work, in design and architecture. Today, I explore drawing as a tool to try to access my dreams and my subconscious. I have developed techniques that help me to make use of aleatoricism, which means to incorporate a dose of chance into the creation. It’s a bit like the rubbing technique created by Max Ernst. This allows the invisible, dreamlike, symbolic to enter my work. ”


Interconnectivity P, Tal Waldman.

“It means a lot to me. It’s a notion that can refer to the reason why I live in France and not elsewhere, for example: I have a life story that made me travel from one place to another, until that I decided to stop there, in Paris, because I fell in love with the city and a man. Or when chance meets destiny. In my work, as in others, there is also a more intuitive language, where chance plays an important role. I like to draw a parallel with the calligraphy practiced by some Asian masters, which combines meditation and body movement. For my part, I am very interested in the notions of consciousness and unconsciousness; a certain understanding of the self, of the self, is essential to me. Especially in the work that I have been developing for two years through a series of drawings entitled Dirty Hazard, where I explore the subconscious as a creative tool, in a constant back and forth between control and letting go. I am interested in this delicate balance between total chance – it is not a question of luck, it is not measured -, related to a bodily action and to my state of mind, and artistic reflection, a usual form of judgment, something more intellectual and more controlled. This produces a series of very organic drawings, evoking almost the cellular universe, so interior. ”


“It’s a tool. It is very important to me because I am very attached to my body. I like dance, physical expression. In an artist, the gesture is, in my opinion, a completely inner expression, conscious or not, but part of his work. For some creators, the gesture is even confused with their work. Me, I found myself on this axis, the gesture is associated with the whole body. The line is an extension of the gesture. Many of my drawings are “built” from lines; they visually translate my body language through the subjects evoked or the textures used. The paper participates as for him to make the gestures visible, even tactile. ”

Civilisation Remains, Tal Waldman.


“The variable speeds of light contain all the splendors of the universe. Color is therefore one of the manifestations of the vibration that affects our body as well as our emotions. Color is the sum of materiality, texture and the relationship between the colors themselves. It is also a question of balance, between abundance and lack of color. The colors are very present in my life and even if I am aware of the effect of these on me or that I am attentive to those I adopt according to my state of mind, my use of colors remains intuitive . ”


“It reminds me first of all of memory and identity. This is the story of a migration, mine and that of my family, to and from Europe. The journey also refers to constant movement and change, it promotes new experiences, the discovery of sounds, tastes, ideas, colors and images, all generating a form of renewal. Finally, it can be more interior, and signify a change of mind. ”


Women Dream, Tal Waldman.

“The notion of freedom is present in the first sense given to my work, in the concept, the support, the gesture, the technique and the material used. It is also related to how I decide to perceive it. I think it starts with a deeper understanding of self, that it requires to actively pursue an inner quest. It is only from there that I will be able to speak of an impulse of freedom in my work. I studied and practiced architecture and design, as well as the fine arts. This interdisciplinarity is essential and participates in my freedom. And I want to remain free of my choices in terms of theme, volume or technique, to go absolutely where I want. If it takes source from traditional techniques, the work that I developed in recent years integrates textile, wood, glass, embroidery, ceramics, paper, acrylic, resin, porcelain, recycling or digital, which allows me to experiment with hybridizations of materials and techniques. With regard to drawing in particular, my need for freedom is satisfied by the experimental process mentioned above, which includes gestures and techniques that I develop specifically. Although risky, but so exciting, I like nothing so much that the exploration pushed to its climax, devoid of any prejudice, so free. ”

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