pokras lampas
Pokras Lampas
pokras
lampas
Preface “ S o m e t h i n g s h ap p e n by ac c i d e n t-
e m b r ac e t h e m .”
M ar i o T e s t i n o
It is indeed by accident that we, at Opera Gallery, first came across Russian artist Pokras Lampas’ work a couple of years ago. We remember seeing one of his now widely known “calligraphy on girls” videos and immediately being drawn to his style, colours and the perfect execution of his work. That first visual impact never left the back of our minds. Thanks to social media, we were able to follow him in all anonymity, like secret admirers, for several years. Hidden behind our computer screen, we saw the young artist mature, his work and technique evolving into what we believe today has become the most sophisticated form of “Calligrafitti”. We were not the only ones to take notice of his talent, since Pokras has been in high demand for artistic and corporate projects, but also been commissioned by some of today’s biggest private art patrons in the world. Most notably, he has achieved exceptional feats such as setting the World Record for the biggest calligraphy work, proudly adorning a rooftop in Moscow and visible on Google Earth. Nothing indicated our path would cross and yet the Middle East brought us closer. Earlier this year, Pokras was the youngest artist selected to feature a well-curated selection of his artworks in the 7th edition of the Sharjah Calligraphy Biennale. This is when we had the chance to meet him in person and to probe his mind to fully understand his unique approach to calligraphy. Our long discussion evolved into one of the most natural artist-gallerist relationships. The first thing that stroke us is his relentless ability to push the boundaries of calligraphy further than anybody ever has. Whether in different alphabet, use of colours, mediums, instruments, textures, Pokras is showing an incredible maturity and curiosity. All of this passion and technique are now translated onto twenty gorgeous canvases, unveiled on the occasion of this solo show aptly titled “Calligrafuturism - Chapter 1.0” Opera Gallery invites you to embrace this beautiful “accident” and to discover Pokras Lampas’ latest works for the duration of his first gallery show in the region.
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G i l l e s Dyan
S y lvai n G ai l l ar d
Founder and Chairman Opera Gallery Group
Director Opera Gallery Dubai
Interview Pokras Lampas C o u l d yo u t e l l u s ab o u t yo u r ar t i s t i c b ac kg r o u n d? My artistic background comes from the streets as well as from graphic design. Since I started graffiti 8 years ago, I’ve been inspired by street calligraphy and by the first Calligraffiti projects. I then began to merge these two with my graphic design knowledge, digital research and international typographic trends.
Yo u ar e o n e o f t h e f i r s t s t r e e t ar t c al l i g r ap h e r s , c an yo u t e l l u s w h e n an d w h y yo u s tar t e d t o b r i n g t h e c al l i g r ap h i c ar t t o t h e s t r e e t s ? From 2011 I’ve been developing my handwriting skills further, inspired by Niels Shoe Meulman’s artworks and by the will to develop calligraphy out of traditional mediums. I’ve used a gothic blackletter base first, mixing it with letter constructions of my own and with graffiti tools like 60mm wide tag markers and wide brooms. For me it was a way to express the hand movement and to perform my own skills freely.
W h at l an g uag e d o yo u u s e t o c r e at e yo u r ar t, i f an y? My language is Russian. I’m working with Cyrillic and Latin letters, but I’m constantly researching different cultures to gain new knowledge. I’ve studied Korean calligraphy and have investigated Japanese, Chinese, Greek and Arabic letters a lot, to turn Cyrillic letter shapes into new forms. For instance, it allows me to instil an Arabian touch in my work without using the original calligraphy or alphabet.
T h e m e d i u m s yo u u s e ar e var i o u s , f r o m b o d i e s t o wal l s ; yo u al s o pai n t o n c an va s e s, u s e v i r t ual r e al i t y an d I n fo r m at i o n t e c h n o l o g i e s fo r s o m e o f yo u r p e r fo r m an c e s . W h i c h m e d i u m i n s p i r e s yo u t h e m o s t an d h ow d o yo u ap p r e h e n d s u c h d i v e r s i t y i n yo u r ar t ? We are living in a special time where there is no limit in the mediums an artist can use. For me the most important thing is freedom of creativity, and that is why I love to experiment with it. Virtual reality holds huge possibilities, but I prefer the texture of paint and tools to it; hence my preferred mediums are canvases and walls. And yet I’m on the way to mixing them with light and digital projections in the future.
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S p e ak i n g o f p e r fo r m an c e, w h at at t r ac t s yo u t o t h i s s p e c i al p r ac t i c e o f ar t ? Yo u ’ v e m ad e t h e l ar g e s t c al l i g r af f i t i o f t h e wo r l d l a s t y e ar, w h y d i d yo u ac c e p t s u c h a c h al l e n g e an d w h at h av e yo u l e ar n e d f r o m t h i s e x p e r i e n c e? As for me, performance is the best way to express calligraphy as an art to the audience. No matter whether it is haute couture performance on clothes, street tagging with a huge fire extinguisher filled with paint, digital sticks and virtual reality helms, thin calligraphic works with quills or huge brushes on rooftops – such action requires perfect harmony with the tools, freedom of mind and trained skills. It’s always a big challenge because you can’t fail in the result, and that’s precisely why I really love this process. When I started working on the rooftop, I had already experienced the creation of a huge calligraphy on the frozen Baltic sea. I’ve had growing confidence in my team from my past projects; I think that for any big project not only the mere idea matters, but also the people realising it. When united together, the idea can grow into something huge.
H av e yo u b e e n i n s p i r e d by Di s h u – t h e C h i n e s e t r ad i t i o n o f s t r e e t c al l i g r ap h y u s i n g wat e r - i n yo u r p r ac t i c e o f ar t ? This tradition has a wide range of practice – from traditional calligraphy to the basics of modern typography, using bricks as a grid for letters. This technique joins a one-off result and an ancient experience. I believe that in the future we will also practice it in the virtual reality of the digital world, changing 2D areas into 3D spaces.
I endeavour to remain the main modern calligraphy artist in Russia. It’s not only about ambition and popularity, but also about inspiring and guiding people in art and about representing the country. I’m continuously concerned about showcasing the best quality results in my works; about bringing to bear my knowledge and experience in designs or art events. Successful projects open the way for promoting other art projects in Russia, so I’m always keen on crazy undertakings, whether in Russia or over the world.
Yo u h ap p e n t o par t n e r w i t h b r an d s t o e x t e n d yo u ar t t o fa s h i o n : h ow c an t h e s e t wo f i e l d s b e c o m p l e m e n tary ac c o r d i n g t o yo u ? Wo u l d yo u l i k e t o t e n d t o m o r e t r an s d i s c i p l i n ary ap p r oac h e s i n t h e f u t u r e? Being inspired by fashion art performances, I’ve been strongly impressed by one of the most memorable moments of McQueen’s runway shows, when two robots spray-painted a dress worn by the model Shalom Harlow (Dress No. 13, spring/summer 1999). When I’m working with fashion brands, I aim at learning from their experience and at sharing mine for a unique result. Working each year for the next year’s collection is a fascinating way to catch sight of and invent new trends before others.
C o u l d yo u tal k ab o u t yo u r o n- g o i n g p r o j e c t s ? W h at ar t i s t i c c h al l e n g e s wo u l d yo u l i k e t o tak e o n ?
C al l i g r ap h y i s a m i l l e n ary ar t t h at i s t h e v e h i c l e o f s p e c i f i c c u lt u r al t r ad i t i o n s . W h at ar e yo u r c u lt u r al i n f l u e n c e s an d i n s p i r at i o n s ? D o yo u i n t e n d t o e n h an c e t h e m i n a way t h r o u g h yo u r wo r k s ?
I’m thrilled to announce the official release of my calligraphy embroideries in stores for the Spring-Summer 2017 Dries Van Noten menswear collection. I’ve also been invited to create about twelve monumental canvases as the cover and illustrations for Pirelli’s 2016 financial report. Moreover, I’m working for a secret brand’s upcoming collection, but I can’t reveal any details for now.
I have always been inspired by different cultures, alphabets and letterforms. Being a graphic designer, I’ve observed many glyphs with unusual shapes and symbols, which were a strong influence for me. Each year, I travel over the world extensively to meet calligraphy artists and to learn from them.
As for new challenges, I’m running numerous experimental projects this year, such as new murals, sculptures, fashion and streetwear collaborations, as well as independent artistic projects. Hope you will enjoy them!
My main goal is to show the harmony between different cultures, merged into one another through calligraphic art in balance and harmony. Influenced by the Latin, Cyrillic, Arabic and Asian calligraphy, I’ve developed a style of my own, “Calligrafuturism”, based on my concept of what international calligraphy will be in the future.
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H ow d o yo u p o s i t i o n yo u r s e l f i n t h e c u r r e n t Ru s s i an ar t l an d s c ap e?
Art i s t’ s s tat e m e n t I’ve always loved letters. I’ve started by creating graffiti and then moved on to graphic design and calligraphy. Within the process, I’ve often been inspired by the harmony of the shape of letters and by their ability to carry a cultural background. I admire their capacity to concisely express every idea; when the texts themselves, along with the process of writing, are transformed into an object of art and inspiration. Over the years, I’ve deepened my knowledge of the history of calligraphy. I constantly travel around the world and meet young and old masters to learn about their technique and analyse their experience. This gave me an idea about how often we study the past while forgetting that future history is being made here and now. This led me to broaden my own reflections about calligraphy of the future. My main goal is to show the harmony of different cultures united within modern calligraphy. I’m glad to witness a growing multiculturalism around the world, which is reflected in art, music, education and everyday life. This is the future that I foresee and the values that I promote. I am always open to new experiments – creating huge works on the roofs, taking part in fashion performances, collaborating with major and local brands, trying new technologies like virtual reality and much more. All my experiences, my emotions and knowledge are being transmitted through my works; together, they form a clear retrospective of my art. All the works presented in this exhibition are thoroughly meaningful to me since they are my best canvases from the last two years. They hold my sense of the latest trends in fashion, art and design, my research on new forms and my rethinking Cyrillic, Latin, Arabic and Asian calligraphy. I created the term “Calligrafuturism” based on my own impressions, opinions, researches and experiences. It is aimed at showing my artistic vision of the future of calligraphy and uniting those who share my concepts. Come and be inspired. Sincerely, P o k r a s L am pa s
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D etail of work
I’ M WĪDE OP ĖÑ
I n s p i r e d by t h e s o n g “ W i d e O p e n ” by t h e C h e m i c al B r o t h e r s an d t h e i r o f f i c i al v i d e o i n c o l l ab o r at i o n w i t h g o r g e o u s T h e M i l l p r o d u c t i o n. T h e ar t wo r k i s r e l at e d t o t h e m u lt i-l ay e r e d l e t t e r s fo r m e d i n s p h e r e.
I’M W ĪDE OP Ė Ñ, 2 016 12 I 13
Acry lic paint, gloss y black paint on canvas. M i x ed media . Ø 120 cm - 47.2 i n .
I n s p i r at i o n i s e v e ry w h e r e, yo u c an f i n d i t i n p e o p l e, fa s h i o n, m u s i c, ar t, n at u r e, s c i e n c e o r l i t e r at u r e. “ W h at wo u l d l i f e b e i f w e h ad n o c o u r ag e t o at t e m p t an y t h i n g ?” V i n c e n t Van G o g h
WHÃT — ’ NSP ÏRES ŸØU, 2 0 1 6 14 I 15
Acry lic paint, gloss y black & gold paints on canvas. M i x ed media . M odern latin calligraph y in self - developed calligraf u t u rism st y le. Ø 120 cm - 47.2 i n .
“ T h e r e ar e alway s f l ow e r s fo r t h o s e w h o wan t to see them” H e n r i M at i s s e
ВCĒ 7 ДÄ Ė Ç T Ь Ц В Ę T Ы ДЛЯ Т Ē X , KTØ XÕЧ ЕТ ВИ Д Ē T Ь И Х, 2 0 1 6 16 I 17
Acry lic, golden & gloss y paints on canvas. M i x ed media . M odern cy rillic calligraph y in self - developed calligraf u t u rism st y le. 120 x 90 cm - 47.2 x 35.4 i n .
“ Yo u c an o n ly g o fo rwar d by m ak i n g m i s tak e s ” Al e x an d e r M c Q u e e n
¥° Ū C ÆN °NLŸ G Ø F °RWĀRD BY M ÃK Ï NG M—’ STÆ KES , 2 0 1 6 18 I 19
G loss y black & gold paints on canvas. M i x ed media . M odern latin calligraph y in self - developed calligraf u t u rism st y le. 100 x 100 cm - 39.4 x 39.4 i n .
D etail of work
S ØM 3 DÃ¥ WE WĪŁ L GRÕW UP OUR UN Ï VERS 3
T h e ar t wo r k i s i n s p i r e d by s pac e e x p l o r at i o n s an d r e s e ar c h e s, b a s e d o n t h e p h o t o s h o t s f r o m t h e H u b b l e S pac e T e l e s c o p e.
SØM 3 DÃ ¥ WE W ĪŁL GRÕW UP OUR UNÏ VERS 3 , 2 0 1 6 22 I 23
Acry lic paint, three kinds of silver ink on canvas. M i x ed media . Ø 180 cm - 70.9 i n .
“ L o o k at t h e s k y. W e ar e n o t al o n e. T h e w h o l e u n i v e r s e i s f r i e n d ly t o u s an d c o n s p i r e s o n ly t o g i v e t h e b e s t t o t h o s e w h o d r e am an d wo r k” A. P. J. Ab d u l K al am
ĒYE o f the U Ñ IV Ë RSE , 2 0 1 6 24 I 25
Acry lic paint, gloss y silver & gold paints on canvas. M i x ed media . Ø 120 cm - 47.2 i n .
S p e c i al t e c h n iq u e b a s e d o n t h e c h an g e of the bronze colour into the old rusted m e tal o n e.
E¥E of the KNØW ŁEDG Ē , 2 0 1 6 26 I 27
Acry lic paint, gloss y silver & gold paints, some details are made of 18 Karat gold leaves powder paint on canvas. M i x ed media . Ø 180 cm - 70.9 i n .
T h i s ar t wo r k i s d e d i c at e d t o t h e h ar m o n y b e t w e e n t h e E a s t e r n an d W e s t e r n wo r l d s . T h e c i r c l e fo r m o f t h i s c o m p o s i t i o n m e e t s t h e r h o m b u s s h ap e o f t h e g o l d e n d e tai l s W i t h i n. T o g e t h e r t h e s e g e o m e t r i c s h ap e s s y m b o l i s e t h e “ D o t ” i n d i f f e r e n t c u lt u r e s.
HÃRMØN ¥ , 2016 28 I 29
Acry lic paint, gloss y black & gold paints on canvas. M i x ed media . 100 x 100 cm - 39.4 x 39.4 i n .
D etail of work
ÏÑS—’GHT
B a s e d o n t h e E y e o f Dav i d, t h i s ar t wo r k i s d e d i c at e d t o m y v i s i o n o f l e t t e r s an d c al l i g r ap h y i n t h e d e e p f u t u r e.
ÏÑS—’ GHT, 2 016 32 I 33
Acry lic paint, gloss y black & gold paints on canvas. M i x ed media . M odern latin calligraph y in self - developed calligraf u t u rism st y le. Ø 120 cm - 47.2 i n .
T h i s ar t wo r k i s d e d i c at e d t o t h e u s e o f t h e “ O l d E n g l i s h G o t h i c� fo n t by a h u g e am o u n t o f fa s h i o n b r an d s , t h at i s m a s s i v e ly r e p r o d u c e d by l o c al s t r e e t w e ar b r an d s .
C O PY C A T S C O P Y C A T S , 2 016 34 I 35
Acry lic, gold & metallic bl u e paints on canvas, mi x ed media . R e -thinking the O ld E nglish G othic t y pograph y. 120 x 120 cm - 47.2 x 47.2 i n .
I n s p i r e d by t h e s o n g “ N e w Be g i n n i n g s ” by C ry s tal s k i e s . Ar t i s t i c r e f l e c t i o n s b a s e d o n t h e e x p r e s s i o n o f s e l e c t e d music.
CRŸ STAL SKIES , 2016
36 I 37
Acry lic paint, secret paint on canvas based on inverted colo u rs, finished with gloss y glitter vanish. M odern latin calligraph y in self - developed calligraf u t u rism st y le. 118 x 118 cm - 46.5 x 46.5 i n .
I n s p i r e d by “4 0 P o e m s f r o m t h e De s e r t ”, w r i t t e n by H i s H i g h n e s s S h e i k h Mo h am m e d b i n R a s h i d Al M ak t o u m . P o k r a s L am pa s h a s u s e d t h i s vo l u m e o f p o e t ry t o l e ar n m o r e ab o u t Ar ab i c l i t e r at u r e.
FRØM the DĒ SERT, 2016
38 I 39
Acry lic paint, three kinds of gold paint on canvas. PA I N T M ade with a secret techniq u e based on inverted colo u rs. M odern latin calligraph y in self - developed calligraf u t u rism st y le. 118 x 118 cm - 46.5 x 46.5 i n .
I n s p i r e d by t h e s o n g “6 5 day s o f s tat i c” by S u p e r m o o n. Ar t i s t i c r e f l e c t i o n s b a s e d o n t h e e x p r e s s i o n o f s e l e c t e d m u s i c.
FÃNTASŸ, 2016
40 I 41
Acry lic paint, secret paint based on inverted colo u rs on canvas. F inished with gloss y vanish. M odern latin calligraph y in self - developed calligraf u t u rism st y le. 118 x 118 cm - 46.5 x 46.5 i n .
D etail of work
DEDÏCÃTIØÑ
“ I d o n’ t t h i n k ar t i s p r o pag an da; i t s h o u l d b e s o m e t h i n g t h at l i b e r at e s t h e s o u l, p r ovo k e s t h e i m ag i n at i o n an d e n c o u r ag e s p e o p l e t o g o f u r t h e r. I t c e l e b r at e s h u m an i t y i n s t e ad o f m an i p u l at i n g i t.” K e i t h H ar i n g
DEDÏC ÃTIØÑ, 2016 44 I 45
G loss y black & gold paints on canvas. M i x ed media . M odern cy rillic calligraph y in self - developed calligraf u t u rism st y le. Ø 120 cm - 47.2 i n .
B a s e d o n t h e r o s e i m ag e, t h i s ar t wo r k i s d e d i c at e d t o m y ar t i s t i c p u r p o s e: u s i n g c al l i g r ap h y a s an i m ag e.
GHØST F ŁÕWER, 2016 46 I 47
Acry lic paint, gloss y black & gold paints on canvas. M i x ed media . M odern latin calligraph y in self - developed calligraf u t u rism st y le. 120 x 120 cm - 47.2 x 47.2 i n .
D etail of work
C Õ CTPÃДÅHИĘ / ĒMPÃTH Ÿ
Ar t i s t i c r e f l e c t i o n s ab o u t m i x i n g s t y l e s o f c al l i g r ap h y an d m e r g i n g t o g e t h e r Ar ab i c an d E u r o p e an s t y l e s .
CÕCTPÃ Д ÅH И Ę / Ē MPÃTH Ÿ, 2 0 1 6 50 I 51
Acry lic paint, gloss y black & gold paints on canvas. M i x ed media . M odern cy rillic calligraph y in self - developed calligraf u t u rism st y le. 180 x 120 cm - 70.9 x 47.2 i n .
I n s p i r e d by R e n é M ag r i t t e’ s “ T h e T r e ac h e ry o f I m ag e s ”, C e c i n ’ e s t pa s u n e p i p e ( T h i s i s n o t a p i p e) . Ar t i s t i c r e f l e c t i o n s ab o u t m i x i n g s t y l e s o f c al l i g r ap h y an d m e r g i n g t o g e t h e r A s i an an d E u r o p e an s t y l e s .
Э Т Ø H Ē KP¥ 7 / THÏS ĪS NÕ T A C Ï R ÇŁ E , 2 0 1 6 52 I 53
Acry lic paint, gloss y black & gold paints on canvas. M i x ed media . M odern cy rillic calligraph y in self - developed calligraf u t u rism st y le. Ø 180 cm - 70.9 i n .
Ar t i s t i c r e f l e c t i o n s ab o u t m i x i n g s t y l e s o f c al l i g r ap h y an d m e r g i n g t o g e t h e r Ar ab i c an d E u r o p e an s t y l e s .
BД ØXHOBЛ ЯЙС Я / G Ē T Ï NSP Ī RED, 2 0 1 6 54 I 55
Acry lic paint, gloss y black & gold paints on canvas. M i x ed media . M odern cy rillic calligraph y in self - developed calligraf u t u rism st y le. 120 x 120 cm - 47.2 x 47.2 i n .
Ar t i s t i c r e f l e c t i o n s ab o u t m i x i n g s t y l e s o f c al l i g r ap h y an d m e r g i n g t o g e t h e r A s i an an d E u r o p e an s t y l e s .
CØNTR Ã ST BETW ĒE Ñ, 2 0 15 56 I 57
Acry lic paint, gloss y black & red paints on canvas. M i x ed media . M odern latin calligraph y in self - developed calligraf u t u rism st y le. 120 x 90 cm - 47.2 x 35.4 i n .
D e d i c at e d t o t h e p h e n o m e n al m o d e r n ar t “ G l i t c h e” ap p l i c at i o n, w h i c h c h an g e d t h e Wo r l d w h e n t h e d i g i tal d i s t o r t i o n wa s b r o u g h t u p t o dat e a s t h e d e c ad e’ s t r e n d.
GŁÏ TCHE, 2015 58 I 59
Acry lic paint on canvas. M i x ed media . M odern latin calligraph y, hand - painted “scan” glitche. 120 x 90 cm - 47.2 x 35.4 i n .
P okras L ampas realised in S eptember 2015 the biggest calligraffiti in the world on a rooftop in M oscow, R u ssia . T his performance is 1625 sq u are meters and is visible on google earth.
the artwork CØ NTR Ã ST BETW Ē E Ñ has been shot on the froz en B altic S ea on e xtremely low temperat u re.
About Pokras Lampas Russian artist Pokras Lampas was born in September 1991 in Korolyov, Russia, and is today one of the most distinguished modern calligraphy representatives. He started creating graffiti in 2008 and soon after was inspired by the “Calligraffiti” movement; hence he turned his focus on street calligraphy. Later, Pokras Lampas was invited to become an official Calligraffiti ambassador while he was also working on a self-developed “Calligrafuturism” style. Pokras Lampas is actively experiencing different directions of modern calligraphy by applying and combining his knowledge of street culture, design and typography of different nations and generations. He is particularly involved in street art projects, exhibitions and other related projects since 2013. He regularly works with main Russian and international brands. Recently, Pokras Lampas started to work with high fashion brands and developed a menswear collection. Over the past years, Pokras Lampas took part to group exhibitions and art projects held in Russia, France, Germany, Italy, Portugal, Korea and the UAE. In 2015, Pokras Lampas performed the first world’s largest calligraffiti on the roof of a building in Moscow. The artwork can be seen from a satellite and on Google Earth.
E x h i b i t i o n s an d p e r fo r m an c e s 201 6
Group exhibition, Sharjah Calligraphy Biennale, Sharjah, UAE (note: youngest artist represented) Group exhibition «The Design of Words», Acqua su Marte, Milano, Italy Group exhibition «Marseille Street Art Show», Galerie Saint Laurent, Marseille, France
201 5
Live performance at the Bolshoy Theatre, Moscow, Russia Solo exhibition “Modern Hangul”, 8Feat Gallery Seoul, South Korea Live calligraphy performance in collaboration with UOT Lena Maksimova, Moscow, Russia Biggest calligraphy artwork in the world, executed on the roof of a building in Moscow, Russia “Vkontakte festival” performance, Tercenary Park, Saint-Petersburg, Russia Group exhibition “Calligraffiti Ambassadors”, Affenfaust Galerie, Hamburg, Germany Creation of mural within “K-Live” festival, Sète, France K-Lash group exhibition within “K-Live” festival, Sète, France Red Bull’s “Canvas Cooler”, Saint-Petersburg, Russia First huge on-ice calligraphy on the Baltic Sea surface, Gulf of Finland
201 4 and earlier
64 I 65
“Artistic Reflections about Yunus Empire” exhibition, Eskişehir, Turkey Performance for “Picnic Afisha”, Moscow, Russia “ArtMosSfera” street art biennale, Artplay, Moscow, Russia “Typomania” festival, Flacon, Moscow, Russia Group exhibition “Tranzitnaya zona”, Perm Gallery, Perm, Russia
C o r p o r at e c l i e n t s: Nike, Mercedes Benz, Pirelli, Red Bull, Ford, Panasonic, Nestlé, Dries Van Noten
S treet art performance, lo u res, P ort u gal, j u ne 2016.
P okras L ampas has performed a painting on ice on the froz en B altic sea b y – 27c.
C o o r d i n at o r s : S y lvai n G ai l l ar d, A u r é l i e H e u z ar d, An n e P i e r r o t-P l é n ar d Designer: É l i s ab e t h C h ar d i n
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pokras lampas
Pokras Lampas