Gisele Tchitchiama’s artistic practice is best-known for investigating the allure of freedom in her pictorial and abstract universe, and gives it form by examining the relationship between colour and brush stroke. Tchitchiama continually tries to clarify the transcendence of identity, an elegant fluidity in which a new sense of peace and gentleness is created.
A French artist, Tchitchiama concentrates on employing a powerfully evocative dreamscape, using distinctive strokes of paint that are like shadows of both force and lightness, creating a poetry between her profound use of colours, the material used and the act of creating. Tchitchiama Invites us to take a moment to enter our personal cosmos of light and intimacy with oneself, inspiring those who engage with her work, to rediscover the beauty of humanity within oneself.
Acrylic and watercolour informs Tchitchiama’s work in a way that dictates a universal language of our minds. Often created without any anecdotal or narrative aspect, Tchitchiama’s work encompasses the essence of expression, purity and spirituality.
Inspired by much of Bach, Verlaine and T.S Elliot’s work, Tchitchiama reifies the worlds of these great intellectuals into a new space for viewers to dwell and renew one’s mind.
Tchitchiama has exhibited extensively internationally, including solo exhibitions at Les Cléias; Petal of Hope, Les Cléias x Gisèle Tchitchiama, Hong-Kong, China, 2020; Le Louvre;The Circle of Life Project, Art shopping, Paris, France, 2019; Culture Club, Light up the other side, Le French May associated program, Hong Kong, China, 2019; The Hong Kong Banker’s Club; Light up the other side, The Hong Kong Bankers Club, Hong Kong, 2018; The Verandah; “Brushing your senses”, Peninsula group, Hong Kong, China, 2016; Ethos Gallery;Formes & Lumières; Cultured Solutions, Hong Kong, China, 2015; The Hong Kong Bankers Club; An evening of French Culture, Hong Kong Bankers Club, Hong Kong, China, 2015; Culture Club Gallery; De sources et de vies, Hong Kong, China, 2011; Office du Tourisme du Haut-Lignon; Du bleu au trait, Office du Tourisme du Haut-Lignon, France, 2010; Le Golf du Chambon; Du bleu au trait, Golf du Chambon-sur-Lignon, France, 2010; Régis.B; Du bleu au trait, Le Chambon-sur-Lignon, France, 2010; Saint Germain-en Laye (private home), Présences rassurantes, France, 2003
Recent group exhibitions include FIS Benefit Gala; Jardin d’Eden, French International school, Hong Kong, China, 2018; FIS Gala; The Artist, French International school, Hong Kong, China, 2018; Epic Art Life Charity auction at Play; Epic Art Life, Hong Kong, China, 2017; Affordable Art Fair; Art around the world, Convention Center, TavernArt Gallery, Hong Kong, China, 2017; Art around the world at Ethos Gallery; TavernArt Gallery, Hong Kong, China, 2016; Affordable Art Fair; TavernArt Gallery, Singapore, 2016; Epic Art Life Charity Auction for Kelly support group at Play, Hong Kong, China, 2016; JCSRS Jazz festival, Jockey Club Sarah Roe school festival, 2014; Artésio Gallery, France, 2004 – 2005; La Dune Gallery, Château d’Oléron, France, 2004; Women Painters in Congo; Espace André Malraux, French Embassy, Republic of Congo, 1994
Tchitchiama has also been awarded the third prize at Group exhibition, Women Painters in Congo third prize, 1994. She is registered as a member of la Maison des Artistes de Paris in 2004. Her work is held in European and African and Asian private collections, including the Hong Kong Bankers Club Hong Kong.
Gisèle Tchitchiama is a French painter and collage artist. She registered as a member of la Maison des Artistes de Paris in 2004. Her 2003 debut exhibition “Presences rassurantes”, was held in Paris to great critical acclaim. Since 2005, moving to Hong Kong, Gisèle has held many solo exhibitions and published two titles featuring her collage works.
Contrary to her background in law, Gisèle’s works display a kind of emotional frankness that defies the argumentative rationality the law experts. Such immediate expressiveness is often bathed in the wonderful mix of colors found in Gisèle’s world, in which effaced faces abound, especially that of women’s, whose elegant fluidity is reminiscent of the original mother figure. Their facelessness suggests a realm of pre-conscious universality, a kind of love underscored by their similarity to the mother-and-child figure.
Perhaps it is their dreamlike quality that allows the viewer to peer the deep connection Gisèle’s works have with her psyche, and our psyche, the dwelling place of the ancient human desire for love, for bonding, and for the beautiful. Such yearning, true to all men, transcends gender and race and manifests itself in the purest form in Gisèle’s works.