Yoann Lossel

Oil painting on paper titled The Love of Bastet (2022). A dark, symbolist-inspired scene referencing Böcklin and Ferdinand Keller. At the center stands a stylized feline goddess figure, upright and frontal, framed by deep shadows and architectural elements reminiscent of a tomb or sacred threshold. The palette is muted, with warm browns and greens. A decorative gold ornamental border surrounds the composition, filled with intricate intertwined motifs blending Egyptian-inspired lotus shapes and Nordic-style animal forms. The gold leaf catches the light against the darker tones of the painting.

Details of 'The Love of Bastet'
See previous post

Oil painting on paper titled The Love of Bastet (2022). A dark, symbolist-inspired scene referencing Böcklin and Ferdinand Keller. At the center stands a stylized feline goddess figure, upright and frontal, framed by deep shadows and architectural elements reminiscent of a tomb or sacred threshold. The palette is muted, with warm browns and greens. A decorative gold ornamental border surrounds the composition, filled with intricate intertwined motifs blending Egyptian-inspired lotus shapes and Nordic-style animal forms. The gold leaf catches the light against the darker tones of the painting.

The Love of Bastet — oil and gold leaf on paper, 2022
Final version.

A tribute to Ferdinand Keller and Böcklin.

Bastet waits. The rest happens in the gold.

Thanks a lot ⭐️

Thank you so much ⭐️

Many thanks!

Thank you very much Joaquin. I love this song!

Thank you very much!

Next step: building the tree!

Thank you so much 🙏

Thank you so much for your kind words Deb ☀️

Thanks a lot ⭐️

A habitable wreck, built plank by plank.

This is a fragment of Labyrinth: a world I’m building in images, objects, and stories.

The boat will return. Somewhere else. At another height.

Thank you, it's a place that inspires me a lot

There is an exhibition in Paris right now on Escher's work. I would have loved to see it!

A wide view of an artist seated in his studio, working on a large hand-drawn map pinned to a drawing board. The map depicts a vast, fragmented city rising from floating landmasses, rendered in graphite and muted washes, with circular and elliptical shapes left empty around the composition. In the foreground, the artist holds a smartphone. On its screen is displayed a photograph of the same scene: the artist, the map, and the studio, creating a visual loop where the map appears inside its own image. The atmosphere is quiet and intimate, filled with drawing tools, papers, and warm light, suggesting a long, meticulous process of world-building and cartography.

Zoom

A wide view of an artist working in his studio. Seated on a wooden chair, he faces a large, illuminated drawing board holding an expansive, unfinished map drawn in pencil and washes. The map depicts a fragmented city suspended in space, with towers, bridges, and architectural masses floating amid mist, arranged around large circular outlines. The room is warm and intimate, filled with wooden furniture, shelves, tools, and scattered art materials. The walls are covered with ornate, patterned wallpaper. In his hands, the artist holds a smartphone, photographing the artwork; on the phone’s screen, the same scene appears again, creating a recursive image of the map within the map. The atmosphere feels quiet, meticulous, and slightly uncanny, as if documenting the act of mapping a world while being inside it.

Zoom

A wide view of an artist working in his studio. Seated on a wooden chair, he faces a large, illuminated drawing board holding an expansive, unfinished map drawn in pencil and washes. The map depicts a fragmented city suspended in space, with towers, bridges, and architectural masses floating amid mist, arranged around large circular outlines. The room is warm and intimate, filled with wooden furniture, shelves, tools, and scattered art materials. The walls are covered with ornate, patterned wallpaper. In his hands, the artist holds a smartphone, photographing the artwork; on the phone’s screen, the same scene appears again, creating a recursive image of the map within the map. The atmosphere feels quiet, meticulous, and slightly uncanny, as if documenting the act of mapping a world while being inside it.

The improvised cartographer I am.

A photo of the map,
inside a photo,
inside the map.

At this point, I’m not sure who’s mapping whom.

Many thanks!

[ENGLISH ALT-TEXT] A surreal artwork in warm sepia and gold tones. A masked woman, Lilith, kneels on a wooden scaffold and carves a marble wall covered with the relief of a tree heavy with fruit. A golden serpent winds around her, its sinuous body catching the light. Below, the fragmented head of a colossal statue lies half-buried in stone. Thin lines of gold run through the composition like veins of memory, linking Lilith’s gesture, the serpent, and the fallen face. The atmosphere is quiet, sacred, and timeless. [FRANÇAIS TEXTE ALTERNATIF] Une œuvre onirique aux teintes sépia et dorées. Une femme masquée, Lilith, agenouillée sur un échafaudage de bois, sculpte dans le marbre la façade d’un arbre chargé de fruits. Autour d’elle, le Serpent d’Or s’enroule, son corps lumineux suivant le mouvement de la main qui taille. En dessous repose la tête brisée d’une statue colossale. De fines lignes d’or traversent la scène, reliant le geste de Lilith, le serpent et le visage effondré. L’atmosphère est silencieuse, sacrée, hors du temps.

"Lilith in the Valley of a Thousand Sculptures" — detail.

A closer look at the gesture.
See the full image in the previous post.

Model : Claire Tardieux

"The White Laurels" - 2026.

These photographs speak of all those women, across eras and cultures, whose work, commitment, or genius has never been recognized. Of those whose efforts have been forgotten, made invisible, or sometimes even stolen.

I am amazed at how you have captured, with such a small detail from a work that will bring together many images and texts, and in very few words, the spirit of the Labyrinth.

Thank you so much Deb ⭐️

And love 🤍

Thank you Sheryl ⭐️

A work-in-progress illustration seen from above. On warm-toned paper, a dense, hand-drawn city appears suspended like an island or fragment, rendered in graphite and ink. Tall towers, bridges, and clustered buildings rise vertically, some fading into mist or shadow. Small touches of gold leaf catch the light on a few structures. In the lower right corner, a hand holding a fine brush is adding dark washes to the drawing. At the top of the image, a metal tool and small pieces of gold leaf rest on the paper, revealing the artist’s workspace and the meticulous, slow process of making the map.

Detail :

A work-in-progress illustration seen from above. On warm-toned paper, a dense, hand-drawn city appears suspended like an island or fragment, rendered in graphite and ink. Tall towers, bridges, and clustered buildings rise vertically, some fading into mist or shadow. Small touches of gold leaf catch the light on a few structures. In the lower right corner, a hand holding a fine brush is adding dark washes to the drawing. At the top of the image, a metal tool and small pieces of gold leaf rest on the paper, revealing the artist’s workspace and the meticulous, slow process of making the map.

A work in progress for Labyrinth.

— 𝐻𝑜𝑤 𝑑𝑜 𝑦𝑜𝑢 𝑘𝑛𝑜𝑤 𝑤ℎ𝑒𝑛 𝑦𝑜𝑢’𝑣𝑒 𝑙𝑒𝑓𝑡 𝑡ℎ𝑒 𝐿𝑎𝑏𝑦𝑟𝑖𝑛𝑡ℎ?
— 𝑌𝑜𝑢 𝑑𝑜𝑛’𝑡 𝑙𝑒𝑎𝑣𝑒 𝑖𝑡.
𝑌𝑜𝑢 𝑙𝑒𝑎𝑟𝑛 ℎ𝑜𝑤 𝑡𝑜 𝑙𝑖𝑣𝑒 𝑖𝑛𝑠𝑖𝑑𝑒.

A detailed photograph of a hand-crafted scale model boat held at chest height by a bearded person wearing a white shirt and deep red trousers. The boat is made of wood, fabric, and thread, with a weathered, aged appearance. Its hull is dark and worn, showing fine plank details. The sails are irregular, stitched from rough fabric, marked with red symbols and stains, and connected by a dense network of ropes and rigging. Two small wooden structures rise from the deck, resembling lookout platforms or cabins on stilts, giving the vessel a fragile, improvised architecture. Threads and cloth strips hang loosely, suggesting damage, ritual markings, or long abandonment. The boat rests carefully in both hands, emphasizing its small scale and the delicacy of its construction. The background is softly blurred, showing a patterned wall, which draws attention to the object. Overall, the image conveys a sense of a mythical, fragmented vessel — part ship, part relic — evoking themes of journey, exile, and transformation.

www.patreon.com/posts/148954...

Thank you very much!

Thank you so much!

A detailed photograph of a hand-crafted scale model boat held at chest height by a bearded person wearing a white shirt and deep red trousers. The boat is made of wood, fabric, and thread, with a weathered, aged appearance. Its hull is dark and worn, showing fine plank details. The sails are irregular, stitched from rough fabric, marked with red symbols and stains, and connected by a dense network of ropes and rigging. Two small wooden structures rise from the deck, resembling lookout platforms or cabins on stilts, giving the vessel a fragile, improvised architecture. Threads and cloth strips hang loosely, suggesting damage, ritual markings, or long abandonment. The boat rests carefully in both hands, emphasizing its small scale and the delicacy of its construction. The background is softly blurred, showing a patterned wall, which draws attention to the object. Overall, the image conveys a sense of a mythical, fragmented vessel — part ship, part relic — evoking themes of journey, exile, and transformation.

Here is the second piece created for Labyrinth.
A scale model of a boat — composite, hybrid, labyrinthine.
Inspired by the chébec, infused with fragments of other eras and cultures.
This vessel is part of a much larger story.

The origin fragment is now available on Patreon (free).