Charlotte Pringuey-Cessac

I rub, I flatten, I explode, I crush, I push…

 

“Where are we going? Everything has been done. For the past twenty years, it seems that the extreme limits have been reached. One cannot be more ingenious, more refined than Ravel, more daring than Stravinsky. What will be the new formula
of art? We will have to go back to the very sources, to simplicity, to find something truly new. Counterpoint? There, no doubt, lies the future! “(Paul Dukas, 1865-1935).

 

I rub, I flatten, I explode, I crush, I push… . Rustles of first plastic actions from which are born sophisticated, intriguing visions that oppose formal principles that have long been used to distinguish Abstractions from each other and whose primitive nature the artist proves to us: the lyrical and the geometric, the expression and the concept what else are they but the reflection of the facture of a world where the organic and the crystalline, the underwater fauna and bamboo right always oppose each other

 

By reintroducing natural motifs and using poor materials, the artist reminds us that at the heart of abstractions, it is the heart of the world we hear.

A post-modern artist in search of timelessness, Pringuey-Cessac does not care about artificial “purity”: thus the figure appears, oscillates and disappears, dissolves or lodges itself in the title. She moves naturally from mural work to the appropriation of an administrative tool, from drawing to sculpture, from in situ to video recorded action. And yet, as soon as they enter her practice, all these processes complement each other instead of opposing or succeeding each other. They thus participate in the extension of a singular universe.

 

Pringuey-Cessac’s compositions show its pronounced taste for black, coal, graphite, traces of burnt or compressed organic life. The wall becomes for him a vertical arena, a place to dance with matter, a place of cadences, of organic, aquatic or fiery forms. But she never ceases to counterbalance her expressive movements rigorously with clean lines, whiteness and silences.

 

Even if the final appearance is never anticipated in the slightest detail, the artist does not embark on a purely instinctive journey whose outcome would be completely unknown to her at the moment she begins to realize it. Conceived according to the place, her wall drawings (O.d.e.) and in situ sculptures are thought out and prepared well in advance. Fruits of well-controlled gestures, their very aim frames them: trompe l’oeil and anamorphosis cannot be improvised.

 

Thus the appearance of the works reflects an approach where premeditation and serendipity are not mutually exclusive. Following the example of counterpoint and the A-B-A structure which is specific to L’adagio and the sculpture of the same name, the same principles reappear regularly in his work to generate new forms flat or in space. Dear to the artist, the reference to music is omnipresent: these ink stamps where a geometrical frame encloses a more or less “loaded” interior are called Variations.

 

As when the white wall is framed in black charcoal embers, the contours of the ink pads are clean, administrative, as is their standard size. The application protocol is no less clear: 5 stamps and 5 principles of composition and action (Stamp!) result in 25 combinations. Tilting between stain and line, stability and imbalance, spacing and superimposition, the artist explores compositional principles and the laws of our perception: when we look at this drawing with the required attention, each combination gives us a very specific sensation: loss of balance, precarious stability or vibrating pause.

 

Inventing new processes or appropriating existing techniques, Charlotte Pringuey- Cessac pushes back the boundaries of her universe, extending it both horizontally and vertically. She enlarges and she digs in parallel: after using charcoal to draw, depositing dark matter on paper or the wall, the paper or wall finally becomes a work of art, like the erasers entirely saturated with dark matter and the very gestures of the draftswoman in the video. When this imposing trunk saved from the fire becomes the Adagio sculpture, the fundamental opposition between natural undulation and artefactual geometry is once again played out in a different way.

 

Burnt wood is also the material for Le Baiser sculpture. Homage to Gaston Bachelard’s Psychoanalysis of Fire, it can be seen as the artist’s response to Brancusi’s The Kiss. The union between the lovers remains partial and potentially ephemeral and their difference is as important as their resemblance.

 

While Charlotte Pringuey-Cessac asks questions as a draftsman and sculptor and is constantly working to expand her plastic vocabulary and field of intervention, her works never overlook the experience of the receiver. Faced with her works, our imaginary plays just as important a role as our pleasure with forms and materials. The volumes she creates and the lines she draws activate memories that we can sometimes ask ourselves if they are really ours or if they are not rather part of our collective consciousness. Her works thus bring to light huts, underwater visions, forest hiding places, caves, embers or camouflaged demons that often seem to cross time as much as cultures. Ghillie-Ghillie brings together the yokai, disturbing beings of Japanese folk monstrology, and the Ghillie follows, a camouflage outfit that imitates forest vegetation.
This outfit, which imitates its environment in order to better blend in with it, is in the image of the artist’s compositions, which never cease to oscillate between fusion and distance, presentation and representation, clue and image, whispering and silence.

 

Klaus Speidel,
philosopher and art critic

Born on October 12, 1981, in Vincennes.

 

 


 

 

SOLO EXHIBITIONS

 

2019

Bruit Originaire, Mamac, Terra Amata, Nice

 

2018

INFRA, archéologie du corps ou comment les gestes bâtissent, CAC de Châteauvert, sortie de résidence Voyons Voir

 

2017

Nuit de la Création, invitation de la Ville de Versailles

 

2016

Bruits de couloir, Carte blanche chez Alexandre Dufaye, Nice

 

2015

Variations, Galerie Eva Vautier, Nice

Super Party, Grimaldi Forum, Monaco

Dessins et sculptures, Galerie Martagon, Malaucène

 

2014

Primitif Aujourd’hui, Terra Amata, Musée de la préhistoire, Nice

 

2013 

Black in Light, Banque Privée, Monte Carlo, Monaco

 

2010 

Les visiteurs du soir, Villa Rivoli, Nice

 

2002 

Mouvements, Paribas Banque Privée, Monaco Transparence, Privé, Nice

 

 

GROUP EXHIBITIONS

 

2018

Tableaux Fantômes, Villa Marguerite Yourcenar (Juin) / La Piscine, Roubaix (novembre)

Avec plaisir, Galerie Eva Vautier, Nice

 

2017

Bruit Originaire, Supervues, Hotel Burrhus, Vaison la Romaine

Galerie Martagon, Malaucène

Penta du Casinca, Corse

Tableaux Fantômes #6, Lille

 

2016

Impressions d’ateliers, Centre international d’art contemporain, Carros

Tableaux Fantômes #4 / #5, Lille

Vent des Forêts, Fresnes-au-Mont, Meuse

 

2015

Tribu, Galerie Eva Vautier, Nice

Croquer, Mac ARTEUM, Chateauneuf Le Rouge

Tableaux Fantômes #2, Fort de Mons

À Une Année Lumière, Galerie Eva Vautier, Nice Ré-Éditions, Espace À Vendre, Nice

 

2014

Les Tableaux Fantômes, Médiathèque Danielle et François Mitterand, Bailleul

Les 10 ans, Espace À Vendre, Nice

En suspens, Galerie Eva Vautier, Nice

Concentration(s), Le 11, Roubaix

 

2013 

Drawing by Numbers, Espace à Vendre, Nice

La Réserve, Galerie Laure Roynette, Paris

 

2012 

Métamorphoses, Galerie Laure Roynette, Paris

Gravures de Poche, Ancien Collège des Jésuites, Reims

No-Made, Villa Le Roc Fleuri, Cap D’Ail

La Poétique de l’Espace, Galerie DDC chez Laurent Mueller, Paris

 

2011 

L’Arboretum, Roure Villa Le Roc Fleuri, Cap D’ail 2010-11

Le Salon de l’Auto, Auto-Station, La Station, Nice

 

2010 

Clairs – Obscurs, UMAM, Château de Cagnes- Sur-Mer

 

2009-10 

Hypothétiques, commissariat Catherine Macchi, Atelier Soardi, Nice

Traits noirs, Musée des Beaux-Arts Jules Chéret, Nice

 

2008 

Biennale de Nîmes, Galerie La Salamandre

On ne prend pas les mêmes et on recommence, Chapelle des Pénitents Blancs, Falicon

 

2007 

Tumbleweed II, Collectifs N202 et Le White Club, Museaav, Nice

L’Art c’est renversant, Galeries Lafayette, Nice

Tumbleweed, Collectifs N202 et Le White Club, Salzburg, Autriche

Génération 2007, Galerie de la Marine, Mu- seaav, Nice

Exposition des étudiants, Galerie expérimentale, Villa Arson, Nice

 

2006 

Ne pas toucher au contour, commissariat Caroline Challan-Belval, Galerie expérimentale, Villa Arson, Nice

 

 

GRANTS, PRICES, RESIDENCES

 

2018

Résidence Voyons Voir, CAC, Châteauvert

 

2017

Résidence Penta du Casinca, Corse

Soutien financier du Centre International d’Art Verrier, Meisenthal

Résidence CCE, arts du feu et nouvelles technologies, ENSA, Limoges

 

2016

Résidence Sophia, mécénat privé, Versailles

Résidence au Vent Des Forêts, Centre d’Art Rural, Meuse

 

2014/2015

Mécénat La Forestière du Nord, Igny

 

2012 

Résidence à Anyskciai, en Lituanie

 

2011 

Aide à la création, DRAC, Aix-en-Provence

 

2010 

Prix Bonnard, UMAM, Cagnes-Sur-Mer

La Forestière du Nord, mécène, aide à la production et à l’édition, Igny

 

2004-05

Bourse Erasmus, échange avec les Beaux-Arts de Hangzhou, Chine

 

 

PUBLICATIONS

 

2010 

CONGRÈS ARCHÉOLOGIQUE DE FRANCE – Nice et Alpes-Maritimes Nice : Abbaye de Saint Pons ; p. 39/40

 

2009 

INRAP – Opération des fouilles du tramway à Nice dirigée par Marc Bouiron : Chap. 5.

Études et Analyses de Fragments d’Enduits Peints du XV°

ARCHÉAM – Revue archéologique : Dossier Spécial Abbaye de Saint Pons, L’Église Abbatiale de Saint Pons à Nice : un Exemple d’Architecture Juvarrienne

 

2008 

MÉMOIRE – Master II, Université des Lettres et des Sciences Humaines à Nice : L’Église Abbatiale de Saint Pons et l’Ancien Monastère

 

 

INDIVIDUAL CATALOGS

 

2011 

Prix Bonnard 2010- Kanesuiban 2011, Éditions U.M.A.M.

 

2010 

Trames de l’imaginaire, Charlotte Pringuey- Cessac, Dessins et sculptures, Éditions La Forestière du Nord

 

 

PUBLIC COMMISSIONS

 

2018 

INFRA, archéologie du corps ou comment les gestes bâtissent, CAC de Châteauvert, sortie de résidence Voyons Voir

 

2016

Sperenza, Vent des Forêts, Fresnes-au-Mont, Meuse

 

2011 

Dessin mural – charbon de bois (70m2), Hall de l’École Sciences Po Méditerranée, Ville de Menton

Eau, Feu Eau Feu ∞, 2014,
Charcoal, mixed media, 241 x 391 cm

 

 

 

 

Le Baiser, 2014
Charcoal, 34 x 7 cm

 

 

 

 

 

Sans titre, 2014

213 x 122 cm
Charcoal, mixed media

En suspens

Exhibition from May 13 to June 14, 2014

Pauline Brun, Alice Guittard, Charlotte Pringuey-Cessac, Agnès Vitani