On Patterns, Form, and Intuition: Lou Malta
We visited Louise Maltaverne’s studio and apartment in Mexico City, where we immersed ourselves in her considered world of art and design. Surrounded by her works in progress, her cat Enzo and the textures, colors, and materials that shape her practice, it became clear how deeply her environment shapes her creative vision. We sat down with Lou to learn more about her process and point of view.
1. As someone who curates private art experiences globally, how has immersing yourself in the local art scene of capital cities shaped your perspective on global contemporary art?
Immersing myself in different art scenes has deepened and broadened my understanding of global contemporary art, while also revealing how much of it remains beyond my grasp. If anything, it has expanded my perspective and shown me how much there still is to learn. No matter how much access you have, there is always more to discover, and it’s so important to keep reading, traveling, and staying curious.
What stands out most is how differently art is presented across cities. In places like New York City, you often encounter more minimal, white-cube gallery spaces, whereas in Mexico City or Seoul, there’s often a deeper integration of architecture and environment into the viewing experience. Across all cities, though, what’s consistent is the sheer volume of work being produced, it’s both overwhelming and fascinating.
I also find myself drawn to artists with strong visual languages - repetition, rounded geometry, obsessive gestures, or very raw, minimal lines. I’m especially interested in work where you can feel the artist’s inner world, even if you don’t fully understand it at first. Ultimately, what I look for is both intention and craftsmanship, and a sense of process behind the work.
2. Do you find yourself repeatedly drawn to certain tones, gestures, rhythms, or visual structures? What do you think that reveals about your inner processes and interests?
Yes, definitely. I find myself consistently drawn to repetition, rounded geometry, and very simple, raw visual structures. I’m interested in gestures that feel obsessive or meditative - where you can sense the artist’s hand and their way of thinking through the work.
I’m also attracted to pieces that build their own internal language - almost like a world you don’t immediately understand but can intuitively feel. That tension between simplicity and depth is something I’m very drawn to, as well as very minimal, precise lines that feel reduced but intentional.
That reflects directly in my own practice. Most of what I create, whether drawings or textiles, is built through repetition: points, circles, and layered forms that come together into characters or landscapes. There’s something very process-driven and almost meditative about that way of working.
Since moving to Mexico City, that language has expanded. I’ve become more open to color, variation, and play but the underlying rhythm of repetition and gesture has remained consistent. Ultimately, it points to a deep interest in process, time, and craftsmanship.
3. Did moving from Paris, then New York, to Mexico City change how you think about dressing and personal style?
Yes, but it’s hard to separate how much of that comes from place versus simply growing up. I moved to New York City at 17 and I’m now 29, so naturally my perspective has evolved.
What those moves (and constantly changing apartments) have taught me is to value having less, but better. I’m much more focused on well-fitted, high-quality basics in great materials, with a few unique or vintage pieces layered in. Comfort is always a priority; even when I want to look polished, I still want to feel at ease.
My wardrobe has become simpler, which makes getting dressed faster and more intuitive, but also more intentional. I tend to gravitate toward vintage pieces—not just because they’re more unique, but often because they’re better made.
4. How has your background impacted your relationship to craft?
My relationship to craft comes from multiple places, growing up around my mother’s design studio, being trained as a designer, and spending my childhood in Paris, where craftsmanship is deeply embedded in everyday life. You see it everywhere, from architecture to objects, and it teaches you to value care and intention.
To me, craftsmanship is a reflection of how much you care. Anything you put into the world, especially creatively, should be made thoughtfully, with respect for materials and technique. That mindset feels increasingly rare in a fast-paced world, which is why I think it’s important to preserve.
Traveling has reinforced this. Every culture has a craft tradition it takes pride in, and in some places it’s fading, while in others, like Japan, it’s still deeply protected and visible in even the smallest details. Being surrounded by things made with care elevates everyday life.
I also believe that design and craftsmanship are inseparable. You can’t have great design without great execution. That’s something I carry into my own work, whether it’s drawing or textiles. I’m very process-driven and meticulous, and I value the time and repetition it takes to create something well.
Living between Paris, New York City, and Mexico City has also shaped how I see this. In France and Mexico, there’s a stronger cultural appreciation for craftsmanship, which extends beyond objects into food, relationships, and daily life, and that contrast has made me value those qualities even more.
About the Artist
Lou Maltaverne (b.1997) is a French multidisciplinary artist and creative working across design, fashion, photography, and visual art. She studied at Parsons School of Design in New York, where she originally pursued Integrated Design before shifting fully into artistic practice.
Her work is rooted in an intuitive, expressive, and cross-disciplinary approach, often combining drawing, styling, and image-making to construct characters and visual narratives. She has described her process as deeply personal, using art as a way to externalize internal states and emotions through layered mediums like photography and abstract mark-making.
Now based in Mexico City, Maltaverne operates as a multidisciplinary creative and collaborator, working across art, design, and cultural projects. Her practice includes collaborations with fashion brands like Agnès.b on their artist collections and studios such as YMER&MALTA, contributing to projects like the Troupeau stool, a design piece part of the Aubusson tapestry collection , which bridges traditional craftsmanship with contemporary design.