Loïs Richard creates art from memories and imagination. Fleeting matters that are intangible and ever-changing. By physically giving form to these subjects, Richard attempts to hold onto them while maintaining an open character. Recently, Richard has started a series of textile works on which she prints collages of architectural representations from different places in the world combined with physical scans of flowers and plants, sculptures, archival images, personal photographs and drawings.
She utilizes the Japanse risography technique, a sustainable method of machine screen printing. Richard first riso-prints a series of separate pieces of handwoven natural fabric and then sews them all back together. This process brings the fragmented and manipulated image back together as a whole. In her art, Richard embeds layers of meaning akin to the layers of human complexity, inviting viewers to delve deeper to uncover hidden truths. She emphasizes the importance of giving art the attention it deserves to resonate emotionally with its audience.

 

The artist herself does not view these works as two-dimensional pieces, but rather as sculptures. They are three-dimensional objects that reveal openings. The images in the works often originate from sculptures, drawings, and photographic collages. With her works, Richard explores the balance between the static and dynamic, the playful and stately, the outspoken versus the introverts, the architectural versus the natural and the influence of architecture on emotions such as grief and a cultural feeling of togetherness. Richard plays with the balance of two- and three-dimensionality, and is breaking with the boundaries of the Risography technique. Richard sees her works and subjects as opposites that collaborate and thus lead to new insights.

Richard also places great value on an open approach to the authorship of her work. Whose work is it really? Only of the artist who brings together and manipulates the materials? Or also the creator of the fabric which is used, the manufacturer of the risoprinter, or the spectator viewing the work? Through her sculptures, she explores the extent of authorship and how intellectual property operates over time.