Personal memory, historical knowledge, and ways of remembering take form in André de Vanny’s latest body of work, negotiating between the weight of the past and the instability of the present. Both linear and cyclical, Mantle unfolds as a repository of memory, storytelling, and iconography through which de Vanny explores how we recall and make sense of our experiences.

Slipping between abstraction and figuration, Mantle asserts the body as a vehicle for storytelling, grounded in diverse material approaches and more direct mark-making. Suspended between presence and absence, de Vanny’s unidentified figures emerge within fragmented narratives; feverish and half-remembered, aching to be seen and felt, yet never fully realised. His loose compositions echo the unstable sensation of recalling a childhood memory, where detail often gives way to the emotional afterimage of lived experience.