Singulart guarantees reliability and traceability.
All the artists on the platform have been specially selected and certify to only sell works, of which they are the artist. Whatever the medium, the work is sent to the buyer with a certificate of authenticity. Photographs are numbered and signed.
Every customer can be given a copy of their certificate of authenticity by contacting support@singulart.com
With Singulart, you can pay safely by credit card or bank transfer.
For all transactions exceeding your credit limit, contact us. We are required to verify every transfer, as part of the fight against fraud and money laundering.
Singulart prices include:
Price of an artwork defined by an artist.
Insurance. Your order is 100% protected in case of any damage or loss.
All customs fees, taxes, and document preparation.
Third-party logistic provider shipping costs.
A dedicated Singulart customer care specialist that will assist you with any questions or problems during shipment.
What if joy began one June morning, walking through a field of poppies near La Baule? The wind bends them, then lifts them again. The light catches the red and stretches it across the green. I hold onto this rhythm and transform it into matter: poppy reds, fuchsia, vermilion, violets; anise greens and deep blues as an underlayer, splashes like pollen in your home. I want a clear, silent energy, a light that gently awakens, a vertical rhythm that… holds the room together. And what if happiness were simply this field that returns each day?
Born in France, Claire Lassonnery is a contemporary abstract artist whose practice is shaped by a life built across three continents.
She has been publicly exhibited since 2024, with solo and group exhibitions in Malaysia, Singapore and Monaco.
Recent solo exhibitions include MUTE (AF Penang, 2026) and Suspended Between Two Worlds (AFKL, 2025–2026). She has also participated in group exhibitions including Her Living Legacy (Artitude Galeria, Singapore) and Mediterranean (Grimaldi Forum, Monaco).
Her work has been the subject of a professional review by Quentin Métayer (Perrotin, Paris) and a critical text by Nathalie Gallon (AICA). Her works are held in private collections in Asia and Europe.