Jomad French, b. 1987 – Works from €350 – €9,000

Born 1987, Fort de France, Martinique

JOMAD is a French contemporary artist whose multidisciplinary practice spans painting, ceramics, and large-scale public interventions. Rooted in an architectural sensibility, her work unfolds through a structural dialogue in which each composition is conceived as a space to inhabit. Trained in visual arts at Université Paris VIII, with earlier studies in architecture and design at École Autograf, JOMAD developed a visual language shaped by construction, balance, and spatial rhythm.
In her paintings, JOMAD continues to expand the architectural logic of her practice into vibrant figural environments of striking scale and presence. Large-format canvases — such as The Duck Story, Sous toutes les coutures, Crochet, and Micro — command space with expressive human figures portrayed in moments of introspection, movement, and interpersonal exchange. The figures often emerge from or are enveloped within lush, monumental floral or abstract botanical fields, where petals, vines, and layered color patterns pulse around the body, suggesting both inner emotional terrain and the matrix of interpersonal life.
Rather than functioning as mere decoration, these vegetal environments operate as psychological and symbolic fields — vibrant spaces that echo themes of identity, resilience, and communal harmony. In works like Legacy, Symbolic, Contemplation and Rotin faces and shoulders appear against backgrounds of swirling leaves and blossoms that feel alive, almost atmospheric in their intensity. The plants and flowers shift between being literal forms and semi-abstract patterning: they are both setting and mood, memory and metaphor. In this way, JOMAD’s paintings translate lived experience into visual form, embedding figures within gardens of recollection, challenge, and reflection.
Her use of “experimental repetition” — repeated motifs of floral forms, and rhythms of color — reinforces a sense of continuity between past and present, bringing to life what she describes as the emotional and sensorial echoes of memory itself. These canvases invite the viewer into worlds that feel at once familiar and transformed, where the human figure and nature’s exuberance converge in a shared narrative of presence and becoming.
Her ceramic work introduces a distinct visual strategy. On hand-shaped plates, cobalt-blue figurative scenes unfold across the surface, recalling archival imagery or intimate social memory. Faces and bodies are rendered with softness and psychological presence, often gathered in collective moments. Against this nuanced blue-and-white drawing, a single flower — rendered in a striking, flat red or yellow — appears as a bold graphic insertion.
This flower is not naturalistic, nor integrated into the scene. It does not grow from the depicted environment; it sits on top of it. Its simplified, almost emblematic shape interrupts the narrative space, partially covering bodies or hovering beside them. In doing so, it creates tension between memory and symbol, between figuration and sign. The vibrant color sharply contrasts with the muted cobalt tones, transforming the flower into a visual punctuation — an act of emphasis, concealment, or protection.
Rather than functioning as ornament, the flower operates as a contemporary marker. It can be read as a gesture of reclamation, a shield, or a coded presence inserted into historical or intimate imagery. The ceramic plate becomes a site of layering: personal memory, collective representation, and graphic intervention coexist on a surface that itself carries domestic and cultural connotations.
JOMAD’s work has been presented in solo and duo exhibitions in France and Spain, including “Parade” at OBRA Art, Paris (2024), and “La Vie en Rose” at OOA Gallery, Barcelona (2025). Her practice has also been featured in group exhibitions in Paris, Los Angeles, and Johannesburg. In 2025, she received recognition at the 7th Biennale d’Art Contemporain of the Mairie du 11e arrondissement in Paris.
Beyond the gallery space, JOMAD engages with public environments through murals and commissioned works, notably in Cayenne, French Guiana, and at university campuses in Saint-Denis and Guyane. Her participation in residencies — including at 59 Rivoli in Paris and the Skopelos Art Foundation in Greece — reflects her commitment to dialogue between place, community, and artistic construction.
Through a practice that bridges structure and sensitivity, JOMAD constructs visual territories where memory, body, and architecture converge — inviting the viewer to enter, inhabit, and reflect.