“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.