Heir to the painters of flesh, Ludovic Fleury roots his practice in a dark ecology and a brutal poetics of care. His starting point is the experience of companion illness, the kind that does not go away. He holds it as a critical prism for contemporary tensions. The body keeps the sum of its exposures: the exposome of a pharmacological society in which what nourishes and heals also poisons. What the body absorbs becomes matter. Vulnerability and duality are, for him, lived realities that he transmutes into pictorial language.

With Trouble de la chair (2024) and then Exposum I and II (2025–26), he asserts an aesthetic of presence, favouring sensation over figuration. His painting, layered with translucent washes, retractions and burns, unfolds zones where the figure bends, fragments, then resists. Inside and outside interlock, s

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