And even when all the spaces of our solitude have been left behind, the rooms in which we suffered, longed for, enjoyed, or betrayed that solitude remain indelibly within us. [...] In the dreams of night, one returns there.
– Gaston Bachelard, La poétique de l’espace
Galerie Raphael presents Poétique de l’espace, an exhibition showcasing the work of French artist Mickaël Doucet, on view for the first time in Germany as part of a solo show.
With more than 30 works, the exhibition brings together a wide range of motifs and media, including not only oil paintings on canvas but also charcoal drawings. This combination of mediums creates a compelling dialogue between the vibrant, inviting oil paintings and the contemplative, quiet charcoal works – a play between tradition and modernity. In line with the gallery’s concept, Doucet has expanded his creative expression and, for the first time, produced a cycle of large-scale charcoal drawings on paper. Their monumental size lends them a powerful presence and highlights Doucet’s mastery of subtle textures.
In addition, the artist has created his first etching, Chelem (2025), especially for the exhibition. While produced in multiple editions, each print carries its own subtle and distinctive character.
Between Inside and Outside
Doucet describes his style as “Pop Neomannerism.” References to Pop Art are easily found — strong, contrasting colors, clear shapes and lines. The subtler mannerist elements lie more in the composition: slightly skewed perspectives and a staging of space as a unified whole, including unusual motifs or intentional enigmas. The seat of the turquoise-blue chair in Les belles endormies is tilted towards the viewer, and the side table in the same color also follows roughly thesame course, pointing towards the inside of the picture and into the room. Yet the furniture appears almost fragile, teetering in both perspective and stability. Will the thin chair legs hold if someone sits down? Will the items on the table — cup, book, and origami figure in the three primary colors — stay in place, or are they about to slide off? The aligned lines of the steps of the platform on the left and the wall on the right with the integrated shelf frame the furniture in the centre and in turn lead into the picture. Shifted to the left and yet at the centre of our attention is the outside - the view from the window. At least that is what the frame, the struts and the blind on the left-hand edge of the picture suggest; it is not quite open, but neither is it closed enough to obscure relevant areas of the view. Their role appears more symbolic, marking the surface as a window. Otherwise, one might mistake it for a photographic print or a poster, merely representing the outside world rather than truly showing it. Large palm leaves and ferns, tropical in appearance, stand almost guard outside, so close they seem to knock at the glass and attempt to sneak a peek inside. Yet the impression of a wild jungle never quite settles in. Despite the lush vegetation and overlapping plants, the composition remains cool and orderly, seemingly aligned withthe interior. Inside and outside mirror each other — they are one, and yet distinct.
