The audacity of a Franco-Swiss artistic adventure
At the France-Suisse gallery Les Koronin, we have always loved slightly reckless departures. Wasn’t it off the coast of Bonifacio, on a rough sea, that the very idea for this adventure was born in 2015? We are not afraid to take risks.
When we decided to offer monthly themed exhibitions, it seemed natural to involve our artists in a different way: since we were going to talk about them, why not ask them to show themselves?
The challenge of self-portraiture: beyond the simple face
Self-portraiture is not just about reproducing features. It is an intense dialogue with oneself and with art history. Five of our leading artists have taken up this challenge:
- Hugo Eckerner
- Ayla Woss
- Vestara Psod
- Artemis Irenäus of Baste
- Isabelle Morin
For Artémis, self-portraiture is already familiar territory, while for others it is a new exploration. Each one conveys a presence, a trace, a moment of consciousness. The artist silently says, ‘Here I am’, without ever claiming to sum herself up.
A window onto contemporary creation
If I do not include myself in this selection, it is because the gallery is not a mirror reflecting the person who organises it. It is a window.
It is an opening offered to the gaze, doubts and assertions of those who create. As you browse through these works, may you encounter not frozen figures, but beings in the making. In the twist of a painted gaze, you may recognise something of yourself.
Philippe Morin Koronin
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« Me voici, tel que je me pense » – Hugo Eckener – peinture acrylique sur carton, 2026
Hugo Eckener: Introspection and clarity
The intimacy of a space for reflection
In this self-portrait, Hugo Eckener opts for simplicity. He does not stage himself in a spectacular setting, but in his own space for reflection: between a bookcase, a desk and a window opening onto the landscape. Natural light, entering from the side, gently shapes his face. This clarity does not dramatise anything; it simply illuminates an atmosphere of introspection and calm.
A measured and cerebral presence
Seated in a relaxed but confident posture, the artist does not seek to make an impression. His calm gaze suggests thought rather than assertion. Warm tones — deep browns, ochres and soothing blues — envelop the scene in a gentle nostalgia, reinforcing an impression of stability and maturity. Nothing is excessive, everything is measured.
« Here I am, as I see myself. »
The assertion of a quiet presence
As part of our March 2026 exhibition, Hugo Eckener reminds us that representing oneself does not necessarily mean revealing everything about oneself. Sometimes it is simply a matter of asserting a silent presence: that of an artist facing himself, in the continuity of his work.
Vestara Psod: The workshop as a mirror of the soul
A dual identity: artist and craftswoman
In this self-portrait, Vestara Psod opens the doors to her studio. Suspended violins, tools and wood shavings surround the artist. Holding her violin in one hand and her paintbrushes in the other, she reveals her dual identity: musician and painter. Here, sound and visual creation engage in silent dialogue, each responding to the other in perfect balance.
The serenity of movement and time
His slight smile creates an immediate sense of closeness and suggests a serenity acquired through years of practice. The instruments and materials remind us that art is born from precise gestures and respect for tradition. The mirror, discreetly placed in the background, enriches our reading of the work: it emphasises that the self-portrait is a constant dialogue between the artist, his reflection and the viewer.
The inner workshop
Vestara Psod asserts that representing oneself also means revealing the inner workshop where works are created. She does not paint herself in isolation, but at the heart of her universe — both heir to centuries-old expertise and fully creative.
Visit the Vestara Psod page
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Vestara Psod – Autoportrait et Lutherie – peinture à l’huile sur toile, 2026. Signature rajoutée.
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Ayla Woss – Saisir l’élan : l’autoportrait – terre à modelage, 2026
Ayla Woss: The self-portrait in motion
Sculpture as a mirror of gesture
For Ayla Woss, representing oneself is not a question of facial features, but rather a question of posture in relation to the world. A former dancer, she transposes the discipline and grace of the body in motion into this self-portrait. We can sense the tension in the bronze, which, far from being frozen, seems to vibrate with contained energy. It is the image of a woman who does not ask permission to exist, but who asserts herself through balance and risk.
Momentum and suspension
In this work, Ayla captures the precise moment when movement shifts. We find here that quest for the essential: a curve, a line of force, a controlled imbalance. For her, to reveal oneself is to accept the vulnerability of the suspended gesture. The self-portrait then becomes an ode to life, capturing what Virginia Woolf called the flow of existence.
A dialogue between strength and serenity
The chosen material — raw modelling clay — provides a solidity that contrasts with the lightness of the pose. Ayla Woss is not content to be seen; she inhabits the space. Here she offers us an intimate narrative in which the serenity of the face meets the absolute concentration of the body in action.
Visit the page of Ayla Woss
Artemis Irenäus von Baste : L’autoportrait comme acte de liberté
Une identité conquise par l’Art
Pour Artemis Irenäus, se peindre est un rituel fondamental depuis ses années à l’ensba de Paris. Loin du destin d’avocate ou de femme d’ambassadeur que sa mère exigeait d’elle, l’artiste a choisi la peinture comme une affirmation de son être véritable. Chaque autoportrait est une réponse au manque d’affection maternelle, une manière de se définir par ses propres termes et de soigner les blessures du passé. C’est un témoignage intime, à la fois touchant et d’une force tranquille.
The warmth of friendship in the Swiss cold
In this oil on canvas, still fresh, Artemis Irenäus welcomes us into her home, in her snow-covered garden in Switzerland. Under the bright winter light, she depicts herself at work, wrapped up in a white puffer jacket, facing her easel. In the background, we can see her loyal friend Natascha Vallélian in her golden jacket. This discreet presence transforms the solitary self-portrait into a celebration of kindness and renewed friendship.
A work in progress
The technique is lively, the brushstrokes of oil paint capturing the brilliance of the snow and the harshness of the climate. This canvas, which is not yet dry at the time of this exhibition in March 2026, reflects a life in motion: that of an artist who has traded the codes of law for the freedom of creation.
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Artemis Irenäus von Baste – Autoportrait hivernal – Galerie Koronin – peinture à l’huile sur toile, 2026. Œuvre fraîchement achevée. Signature rajoutée. Merci, Arty.
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Isabelle Morin, autoportrait en Dordogne – croquis sur papier, 2025
Isabelle Morin: The clarity of the moment
With Isabelle Morin, the self-portrait leaves the studio for the open air of the Dordogne. Created during the summer of 2025, this work captures the artist in her element: nature, summer light and the pure pleasure of creation. With her hat firmly on her head and a mischievous look behind her glasses, Isabelle offers us an image of herself full of life and spontaneity. It is a self-portrait that does not seek to impress, but to share a moment of simple happiness.
A summer in the Dordogne: Painting the light
This self-portrait immediately transports us to the gentle warmth of an afternoon in July 2025. Isabelle Morin depicts herself in action, standing in front of her outdoor easel, with the typical architecture and lush vegetation of the Périgord region in the background. The use of warm colours—the vibrant orange of her top complementing the ochre tones of the earth—bathes the scene in a sunny and optimistic atmosphere.
The lightness of touch and wit
Unlike more formal settings, Isabelle focuses here on spontaneity. The lines are soft, almost sketchy, allowing the paper to breathe. We see the artist as she is: a passionate creator who does not hesitate to sketch herself with a touch of humour and a great deal of authenticity. The composition, with the spiral notebook in the foreground, emphasises that for her, art is a daily journey, a travel journal where every moment is worth capturing.
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