“Where are we going? Everything has been done. In the last twenty years, it seems that the extreme limits have been reached. One cannot be more ingenious, more refined than Ravel, more audacious than Stravinsky. What will be the new formula
of art? It will be necessary to return to the very sources, to simplicity, to find something truly new. The counterpoint? This is undoubtedly where the future lies! “(Paul Dukas, 1865-1935)

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I rub, I flatten, I explode, I crush, I push… . Rustling of first plastic actions from which are born sophisticated, intriguing visions that oppose formal principles that have long served to distinguish Abstractions between them and whose artist proves us the primitive nature: the lyric and the geometric, the expression and the concept that are they other than the reflection of the invoice of a world where the organic and the crystalline, the underwater fauna and the right bamboo are always opposed?

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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 that we hear.

Post-modern artist in search of atemporality, Pringuey-Cessac does not care about an artificial “purity”: thus the figure appears, oscillates and disappears, dissolves or lodges itself in the title. She passes 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 his practice, all these processes complement each other instead of opposing or succeeding each other. They thus participate in the extension of a singular universe.

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Even if the final appearance is never anticipated in its smallest details, the artist does not embark on a purely instinctive journey whose outcome would be entirely unknown to her at the time she begins the realization. Designed according to the place, his wall drawings (O.d.e.) and his sculptures in situ are thought out and prepared well in advance. Fruits of well mastered gestures, their very aim frames them: trompe l’oeil and anamorphosis are not improvised.

Thus the appearance of the works reflects a process where premeditation and serendipity are not excluded. Like the counterpoint and the A-B-A structure that is specific to the Adagio and the sculpture of the same name, the same principles reappear regularly in his work to generate new forms on the flat or in space. Dear to the artist, the reference to music is omnipresent: these ink pads where a geometric frame encloses a more or less “loaded” interior are called Variations.

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As when the white wall is framed in black charcoal embers, the contours of the ink pads are sharp, administrative, as is their standard size. The application protocol is no less so: 5 pads and 5 principles of composition and action (Dab!) give rise to 25 combinations. Shifting between spot and line, stability and imbalance, spacing and superimposition, the artist explores principles of composition and the laws of our perception: when we look at this drawing with the required attention, each combination gives us a very precise sensation: loss of balance, precarious stability or vibrant pause.

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Inventing new processes or appropriating existing techniques, Charlotte Pringuey-Cessac pushes back the boundaries of her universe whose extension is done in a horizontal and vertical way. She enlarges and digs in parallel: after having used charcoal to draw, depositing the black matter on the paper or the wall, this one ended up making work, following the example of these erasers entirely saturated with black matter and of the gestures even of the draftswoman in said video. When this imposing trunk saved from the fire becomes the Adagio sculpture, the fundamental opposition between natural undulation and artefactual geometry is played out once again, differently.