What arouse our attention on the White Moon Gallery was a singular sense of magnetic attraction. To fulfil this sense we reached them at the Art Paris Art Fair for an introductory talk and an opinion exchange.

Just one year ago the White Moon Gallery was opening in Paris, under the steady direction of Deanna Leontieva, who worked in the field of fashion for years before turning into a gallerist. Just contemporary pieces in marble, just one of the most pure and precious of Carrara. The concept is straightly simple and the cutting edge of the work produced master the expectations. Coming from associated artists and designers of different views, the works are centred on the concepts of purity, strength and ephemeral, giving a sense of crystallised beauty to something of semi eternal like the cold white stone. What comes out of this contrasting sense of fragility and steadiness is in a way impressive and seductive.

The approach to the raw material is something new and futuristic. The production behind the artworks, centred on the figure of Gualtiero Vanelli, is the meeting point between craftsmanship and robotics. This new approach makes possible to bend the marble or to carve it in extremely thin slabs, making way for crowds of translucent butterflies surrounding la Tête de Mort ( in onyx ) of Philippe Pasqua or for the Demakersvan’s Cinderella Table.

The rushing sense of innovation behind the gallery’s project is a means of strong cohesion, they like to think of themselves as an ever expanding family sharing the same deep feeling and attraction for the material and the same disenchanted view about its undisclosed potential. We were reflecting together on what can this new approach mean in the forthcoming future, and how for example the same, improved process can be adopted by fashion designers and couturiers to edit marble pieces. We consider this extremely open way of thinking which oversteps the boundaries of art and design a means to embrace the future and bringing it to life today.