Médicis (there had been no rupture in our relationship with illustra-tors). Starting in 1994, we co-produced several books by illustrators in very limited editions, entirely printed in serigraphy and signed by the authors, namely Les 36 Positions by Koechlin, Duo by Loustal, Les Montparnos by Dupuy and Berbérian, Un musée by Cathy Millet, and Exposition by Floc’h. The untimely passing of one of the gallery’s owners put an end to this adventure.

We’ve also benefitted from a certain number of commissions from the Yvon Lambert Gallery, which edits artists’ books in editions of 150 copies–a perfect opportunity to work with international artists such as On Kawara, Richard Tuttle, Lawrence Weiner and Paul-Armand Gette. Lately, we’ve produced two handsome works, Cahier d’un retour au pays natal by Aimé Césaire and Daniel Buren published by Éditions du Solstice, a magnificent book that incorporates die-cutting, and Le Souffle à la surface, a collective work on the theme of the Bible featur-ing prints by twelve renown artists. The technical mastery of this kind of limited-edition book, which includes cutting, folding, assembling and binding, are also among our specialties. Looking back, the situa-tion has evolved considerably, especially since the 1980’s. Our insis-tence upon quality has given L’Atelier a particularly positive image. The innovative nature of the process has also played its part in win-ning over artists as well as the public. Artists have understood that screenprinting offered them a new and original means of expression, whereas the public has been enchanted with editions that are situated half-way between the multiple and the original artwork, often having been printed on non-traditional materials, and that are accessible at a reasonable cost.

The printmaking trade is built on two pillars: a foundation of know-how and of modern technique, and communication that takes place at salons and at exhibitions. Beginning in 2002, I started organizing exhibitions of artists at the workshop where specific screenprinted projects were shown along with a few original artworks. I’ve exhibited Frédérique Lucien, Pierre Buraglio, Jef Gravis, Claude Viallat, Paul Cox, Béatrice Casadesus and next, Soizic Stokvis. In fact, I was looking for an alternative to salons, and certain visitors have become loyal to this original venue that doesn’t resemble a gallery. It has become quite tempting to produce one-of-a-kind screenprints that would be sold as original artworks and not as multiples. I had already done a bit of this kind of work with Pierre Buraglio, and then I more fully embraced it with Béatrice Casadesus when we made eleven works of varying formats, all unique serigraphed pieces printed on canvas and mounted on stretcher bars. These works have been shown at L’Atelier