For Paris Internationale we present a dialogue between artists Eva Fàbregas (b.1988 in Barcelona) and Marie Zolamian (b.1975 in Beirut), whose works explore the sensory, the subconscious, and the transformative potential of materiality. Despite coming from different artistic contexts, both share a focus on the convergence of body, mind, and the unknown in fluid, mystical encounters.

Fàbregas and Zolamian’s works act as conduits that merge physicality and consciousness, challenging conventional ways of perceiving and engaging with the world. Fàbregas, through sculptures, expresses a visceral understanding of corporeality, while Zolamian, in her paintings, blurs cultural references to create dreamlike landscapes that question the perception of reality.

Fàbregas’ work, with its biomorphic and malleable forms, invites a sensory experience that challenges habitual perception, evoking impermanence and creating an ambiguous feeling. Zolamian’s paintings, on the other hand, dematerialize color and form, merging the physical and the spiritual in a dreamlike dimension.

Both artists, with complementary approaches, propose the dissolution of the body-mind duality, inviting the spectator to a transformative experience.

Marie Zolamian’s work navigates between the domestic family scene and the realm of dreams. Resembling a déjà vu, her paintings transport us to a dreamlike universe of hybrid creatures, faces, masks and chimerical landscapes that we seem to have known in another life. Zolamian borrows references from both Eastern and Western art history —Medieval miniatures, Persian and Armenian, the primitive Flemish, Henri Rousseau, Cézanne…— and gathers and recomposes them according to the moment, thus disintegrating the notion of affiliation and belonging to a community, bringing to the surface an imaginary territory where an iconography based on the attempt of integration appears and where relationships —sometimes discordant — are established. Between human beings and nature, memories of the individual and the collective, between tradition, separation and upheaval, between site, temporality and culture.

Zolamian is a Belgo-Lebanese multidisciplinary artist of Armenian descent, currently living and working in Liège. She studied Visual Arts at the Royal Academy of Liège and at La Cambre in Brussels. Recentsolo exhibitions include: SA MUE, Bombon projects (Barcelona, ES, 2024); Some movements in the tree of life, UZ Jette (Bruselas, BE, 2023); Untitled, Galerie Nadja Vilenne (Liège, BE, 2019); Bienvenue, Mu.ZEE (Ostende, BE, 2018); Paroles à Boire, Musée le Carroi (Chinon, FR, 2017); The Mayor of Veurne, EMERGENT (Veurne, BE, 2015); Listen Your Eyes, Dakar Biennial of Contemporary Art (Dakar, SN, 2014).

She has participated in group exhibitions such as: Pink specks of dust on a garden with no sun, Bombon-CRISIS (Madrid, ES, 2025); Painting after Painting, SMAK, (Ghent, BE, 2025) Full house collection, MuZee, (Ostende, BE, 2024); Enlaire, l’Antiga Farinera (la Bisbal d’Empordà, ES, 2024); Tageldimde/Middlegate 2023, Cultuurcentrum Werft, (Geel, BE, 2023); Regenerate, Wiels (Brussels, BE, 2021), Grandchildren, Depo (Istanbul, TR, 2015), Qalandiya International, (Birzeit and Abwein, PL, 2012), Contemporary Art Biennal 2009, Parallel events (Istambul, TR, 2009) among many others.

Her work can be found in collections such as BPS22 (Charleroi, BE), MACS (Grand Hornu, BE), Mu-ZEE (Oostende, BE), M Leuven (BE), Flemish community collection, Nationale Bank of Belgium, Ministry of foreign affairs (BE), La Boverie (Liège, BE), Space collection (Liège, BE), Province of Liège (BE), MUMC (Maastricht, NL) and EF Education First (CH and GB). Zolamian has several permanent installations in public spaces and institutions, most notably Welkom – Bienvenue – Welcome – Willkommen at KMSKA (Antwerp, BE, 2022), a 76 m2 mosaic of 600,000 stones at the entrance to the museum, the largest mosaic in Belgium to date.

Working with soft and malleable materials, Eva Fàbregas’ practice embraces tactile engagement, physical intimacy, sensorial relation and multiple forms of somatic experimentation with and through objects. Liberated from the constraints of biology, desire and affect are allowed to flow in all directions, blurring the distinction between organic and inorganic matter. In her practice, touch is a primary source of knowledge. Her work is about learning through one’s fingers and the sculptures are often reminiscent of body organs and voluptuous glands, but she also looks at prosthetics as well as non-human life-forms such as corals, polyps and the reproductive parts of plants. Fàbregas’ work belongs to the realm of the somatic, the experiential, the guttural and the unnamable. It aims to fully inhabit the world of the senses, invoking a pre-linguistic stage to imagine other possible bodies, other ways of feeling, caring and being in the world.
Some of her most recent solo exhibitions include: Swell, Bombon projects (Barcelona, ES, 2025); Respirar con la herida, Matadero (Madrid, ES, 2025); Exudates, MANIFESTA 15, MAC Mataró (Mataró, ES, 2024); Devouring Lovers, Hamburger Bahnhof (Berlin, DE, 2023); Enredos, Centro Botín (Santander, ES, 2023); Vessels, Bombon Projects (Barcelona, ES, 2022); Skin-like, Kunsthal (Ghent, BE, 2021); Gut Feeling, CentroCentro (Madrid, ES, 2019); Those things that your fingers can tell, Kunstverein München (Münich, DE, 2019); First Act: Smooth Operations, Laure Genillard Gallery (London, GB, 2017-2018); Picture yourself as a block of melting butter, Fundació Miró (Barcelona, EZS, 2017); Systems for displaying matter, Enclave (London, GB, 2016), and How are you feeling today?, Window Space, Whitechapel Gallery (London, GB, 2015).

Her work has been featured in group exhibitions such as: Bio Morphe, Moody Center for the Arts (Houston, USA, 2025); 18th Istambul Biennial IKSV (Istambul, TR, 2025); Heavy Hitters, Tarmak22 (Saanen, CH, 2025); Songs for the Changing Seasons, Klima Biennale (Vienna, CH, 2024); When Forms Come Alive, Hayward Gallery (London, GB, 2024); Growths, La Biennale de Lyon (Lyon, FR, 2022); Londres Open, Whitechapel Gallery (London, GB, 2022); Every object is a thing but not everything is an object, Hollybush Gardens (London, GB, 2018); Who cares? A radio tale, Gasworks / Resonance 104.4 FM (London, GB, 2018); Eyecatcher, Big Screen Southend, Focal Point Gallery (Southend-on-Sea, GB, 2017); Scissors cut paper wrap stone, Ormiston House, (Limerick, IE, 2017); The Role of Unintended Consequences, Syndicate (Koln, DE, 2016); World Exhibition of Art and Technology of Teesside, MIMA (Middlesbrough, GB, 2016); Soft control, Embassy Gallery (Edinburgh, GB, 2016); Unforeseen changes, The Green Parrot (Barcelona, ES, 2014) and Eva Fàbregas & Andrew Lacon, Kunstraum (London, GB, 2014).

Her work can be found in collections such as La Caixa (Barcelona, ES), MACBA (Barcelona, ES), DKV Arteria (ES), Museo Nacional Centro de Arte Reina Sofia (Madrid, ES), Kunsthal Ghent (Ghent, BE), CA2M (Madrid, ES), Col·lecció Nacional de Catalunya (Barcelona, ES), macLYON (Lyon, FR), Centro Botín, Fundación Santander (Santander, ES), Colección Kells (Santander, ES) and Fundación Vila Casas (Barcelona, ES).