In The Final Echo Isn’t a Sound, Alexandre Kasproviez imagines a suspended moment—the final seconds before death—when fragments of life resurface in flashes. This exhibition is not about endings, but about memory’s last surge: familiar faces, fleeting places, and sensations recalled not in sequence, but in emotional bursts. The works form a kind of personal archive, one that reverberates through the collective unconscious.

Over thirty new paintings depict an emotional self-portrait of the artist—memories echoing not in sound, but in image. In this way, viewers are invited to reflect on their own inner archives of experience.

The portraits—monumental in scale—seem to drift across the canvas, their monochromatic rendering deepening the quiet intimacy they evoke. Some depict friends, others well-known figures from the past or present, yet all are protected by a veil of distance. Their features appear to emerge from—or recede into—the surface, the result of Kasproviez’s complex creative process, which creates a tension between presence and loss.

The landscape series shifts between the real and the remembered. Here, the artist embraces color and scale to explore the emotional resonance of place. Some works adopt the diffused palette of neo-impressionism, a direction Kasproviez has recently begun to explore. Others recall his time in Brazil, where lush nature encounters modernist architecture—evoking not a specific place, but a sensation.

Recurring throughout the exhibition are spectral presences: anonymous figures that drift just beyond recognition. In this new body of work, some appear in brighter tones than ever before, adding a surprising intensity to their quiet mystery. These characters suggest not specific individuals, but states of being—shadows of memory that linger, resist definition, yet feel deeply familiar.

Alexandre Kasproviez