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Camille Blatrix, No School, 2015.  Installation at MOSTYN, UK.  Photography Dewi Lloyd. Camille Blatrix, No School, 2015. Installation at MOSTYN, UK. Photography Dewi Lloyd.

Francesca Donovan and Rhiannon Lowe travel the long road north to Llandudno to immerse themselves in the work and relationships of Camille Blatrix, in MOSTYN's summer exhibition, 'No School'

Imagine a child trying to decipher a large family gathering. Faced with second cousins and great grandmothers and 'Uncle Felix' - who isn't really an uncle at all, he's just some bloke the family has known forever - one can get a little lost in the layers of familial connections and relationships. The feeling is not too dissimilar to that when you walk into MOSTYN's summer exhibition, 'No School'.

This exhibition is Camille Blatrix's first solo show in the UK in which we are given an opportunity to experience the artist's inspirations alongside his own work. After conversations with Alfredo Cramerotti, Director of MOSTYN, it transpired that Blatrix's influences come from close to home: namely, his father, his mother and his best friend Camille Blin. Blatrix has curated his own solo show and embedded it within displays of his family and friend's own oeuvres. The works of all four creators are intertwined in one large-scale, pristinely-executed and crafted narrative that tells tales of teenage rebellion, fleeting relationships and long-lasting admiration and respect for those close, known and loved.

The basis of what feels a very complete, thoughtful, and even wise show came from Blatrix's feeling of being the returning city-dwelling son, back home at his parents' behest. On Blatrix's visit to the seaside town of Llandudno to see MOSTYN's space for the first time, he felt as though he were coming home after being away for a long while, returning from the bright lights to his sleepy home town, a sense that he grew and developed for the show through a mixture of imagined memories and intertwining actual fleeting encounters.

First you are confronted by Blatrix's mother Doroth e Loriquet's lashings of colour and movement resting upon a forest of wooden plinths, designed by Camille Blin, which bulge under the ten kilo weight of each ceramic twist. The narrative continues into the second leg of MOSTYN's space with Camille Blatrix's site-specific, curious hand and machine-crafted installation pieces - objects redolent of half-remembered teenage years, both serious and purposeful-looking, but also supremely tooled and polished, even decorative. The pieces are posed centrally down the gallery, rising from ground-level embedded in MOSTYN's floor, up in regular steps to reach the back wall of the gallery, where hang a pair of his father, Fran ois Blatrix's paintings depicting scenes before and after the artist's own conception (a third scene demurely missing).

Throughout the exhibition space, Blatrix has lasered tagging symbols into metal fittings and stuck greyish-pink globules of chewing gum onto unsuspecting works, quietly searing into the works a never-ending nostalgia for teen-hood and rebellion, subversion; in amongst Blatrix senior's paintings are scratched familiar words: Youth. Rage. Infinity.

Camille Blatrix, No School, 2015.  Installation at MOSTYN, UK.  Photography Dewi Lloyd. Camille Blatrix, No School, 2015. Installation at MOSTYN, UK. Photography Dewi Lloyd.

The young French artist has recently been the recipient of the Prix d'entreprise Ricard 2014 for emerging artists, but despite this accolade's implications, he shows singularity in both the self-awareness and execution of both his own work and approach to the exhibition as a whole; the show's collaborative method and process also shows both risk and trust on many sides, the artist's, the gallery's, and further his parents' and friend's. The binding and curation of the show and intertwining of Blatrix's artistic and relational concerns forge a playful and personal, yet also universal and mature passage that allows both access and intrigue at many levels.

Alfredo Cramerotti spoke exclusively to CCQ about the fascinating curatorial development of 'No School' at MOSTYN a process and artistic learning curve that inspired change and growth right down to the wire and the artist's unwavering commitment to representing himself, his friend and his parents in a way that is insightful, touching and funny. The full interview will be published in CCQ8, launched in December.

Catch the last few days of 'No School', warmly recommended; it runs until 1 November 2015. MOSTYN is open Tuesday Sunday, from 10.30am to 5pm.