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Charlotte Pringuey-Cessac<\/strong><\/p>\n<\/div>\n <\/p>\n “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 ,<\/span><\/p>\n 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?<\/p>\n ,<\/span><\/p>\n 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.<\/p>\n 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.<\/p>\n<\/div>\n Pringuey-Cessac’s compositions show his pronounced taste for black, charcoal, graphite, traces of burnt or compressed organic life. The wall becomes a vertical arena, a place of dance with the material, a place of cadences, of organic, aquatic or ardent forms. But she never ceases to counterpoint her expressive movements rigorously with clean lines, whites and silences.<\/p>\n ,<\/span><\/p>\n 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.<\/p>\n 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.<\/p>\n ,<\/span><\/p>\n 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.<\/p>\n ,<\/span><\/p>\n 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.<\/p>\n<\/div>\n<\/div>\n ,<\/span><\/p>\n Burnt wood is also the material of the sculpture Le Baiser. A tribute to Gaston Bachelard’s Psychoanalysis of Fire, it can be seen as the artist’s response to Brancusi’s Kiss. The union between the lovers remains partial and potentially ephemeral and their difference is as important as their resemblance,<\/span><\/p>\n If Charlotte Pringuey-Cessac asks questions as a draughtsman and sculptor and constantly works to expand her plastic vocabulary and her field of intervention, her works never overlook the experience of the receiver. Faced with his works, our imagination plays an equally important role as our pleasure of forms and materials. The volumes she creates and the lines she draws activate memories that we can sometimes wonder if they are really ours or if they are part of our collective consciousness. His works thus give rise to cabins, underwater visions, forest hideouts, 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 suit, a camouflage outfit that mimics forest vegetation. ,<\/span><\/p>\n ,<\/span><\/p>\n Klaus Speidel,<\/em> [\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”BIOGRAPHY” tab_id=”1410959496581-2-133f7-6b51f650-a744″][vc_column_text css=”.vc_custom_1655562366715{margin-left: 5% !important;}”]Charlotte Pringuey-Cessac<\/strong><\/p>\n Born on October 12, 1981, in Vincennes.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n PERSONAL EXHIBITIONS<\/strong><\/p>\n <\/p>\n 2019<\/strong><\/p>\n Original Noise<\/em>, Mamac, Terra Amata, Nice<\/p>\n <\/p>\n 2018<\/strong><\/p>\n INFRA<\/em>, archaeology of the body or how gestures build, CAC de Ch\u00e2teauvert, Voyons Voir<\/em> residence<\/p>\n <\/p>\n 2017<\/strong><\/p>\n Night of Creation<\/em>, invitation from the City of Versailles<\/p>\n <\/p>\n 2016<\/strong><\/p>\n Bruits de couloir<\/em>, Carte blanche at Alexandre Dufaye, Nice<\/p>\n <\/p>\n 2015<\/strong><\/p>\n Variations<\/em>, Eva Vautier Gallery, Nice<\/p>\n Super Party<\/em>, Grimaldi Forum, Monaco<\/p>\n Drawings and sculptures<\/em>, Martagon Gallery, Malauc\u00e8ne<\/p>\n <\/p>\n 2014<\/strong><\/p>\n Primitive Today<\/em>, Terra Amata, Museum of Prehistory, Nice<\/p>\n<\/div>\n<\/div>\n<\/div>\n <\/p>\n 2013 <\/strong><\/p>\n Black in Light<\/em>, Private Banking, Monte Carlo, Monaco<\/p>\n <\/p>\n 2010 <\/strong><\/p>\n The evening visitors,<\/em> Villa Rivoli, Nice<\/p>\n <\/p>\n 2002 <\/strong><\/p>\n Movements<\/em>, Paribas Private Bank, Monaco Transparency, Private, Nice<\/p>\n <\/p>\n <\/p>\n GROUP EXHIBITIONS<\/strong><\/p>\n <\/p>\n 2021<\/strong><\/u><\/p>\n Nomadic Project, Eva Vautier Gallery, Nice<\/p>\n <\/p>\n 2018<\/strong><\/p>\n Tableaux Fant\u00f4mes,<\/em> Villa Marguerite Yourcenar (June) \/ La Piscine, Roubaix (November)<\/p>\n With pleasure<\/em>, Eva Vautier Gallery, Nice<\/p>\n <\/p>\n 2017<\/strong><\/p>\n Bruit Originaire,<\/em> Supervues, Hotel Burrhus, Vaison la Romaine<\/p>\n Martagon Gallery<\/em>, Malauc\u00e8ne<\/p>\n Penta of Casinca<\/em>, Corsica<\/p>\n Tableaux Fant\u00f4mes #6<\/em>, Lille<\/p>\n <\/p>\n 2016<\/strong><\/p>\n Impressions d’ateliers<\/em>, Centre international d’art contemporain, Carros<\/p>\n Ghost paintings #4 \/ #5<\/em>, Lille<\/p>\n Vent des For\u00eats<\/em>, Fresnes-au-Mont, Meuse<\/p>\n <\/p>\n 2015<\/strong><\/p>\n Tribe<\/em>, Eva Vautier Gallery, Nice<\/p>\n Croquer<\/em>, Mac ARTEUM, Chateauneuf Le Rouge<\/p>\n Ghost paintings #2<\/em>, Fort de Mons<\/p>\n \u00c0 Une Ann\u00e9e Lumi\u00e8re<\/em>, Eva Vautier Gallery, Nice Re-Editions, Espace \u00c0 Vendre, Nice<\/p>\n <\/p>\n 2014<\/strong><\/p>\n Les Tableaux Fant\u00f4mes<\/em>, M\u00e9diath\u00e8que Danielle et Fran\u00e7ois Mitterand, Bailleul<\/p>\n The 10 years,<\/em> Espace \u00c0 Vendre, Nice<\/p>\n In suspense<\/em>, Eva Vautier Gallery, Nice<\/p>\n Concentration(s), Le 11<\/em>, Roubaix<\/p>\n <\/p>\n<\/div>\n<\/div>\n<\/div>\n 2013 <\/strong><\/p>\n Drawing by Numbers,<\/em> Espace \u00e0 Vendre, Nice<\/p>\n La R\u00e9serve<\/em>, Laure Roynette Gallery, Paris<\/p>\n <\/p>\n 2012 <\/strong><\/p>\n Metamorphoses<\/em>, Laure Roynette Gallery, Paris<\/p>\n Gravures de Poche<\/em>, Ancien Coll\u00e8ge des J\u00e9suites, Reims<\/p>\n No-Made<\/em>, Villa Le Roc Fleuri, Cap D’Ail<\/p>\n The Poetics of Space<\/em>, DDC Gallery at Laurent Mueller, Paris<\/p>\n <\/p>\n 2011 <\/strong><\/p>\n The Arboretum,<\/em> Roure Villa Le Roc Fleuri, Cap D’ail 2010-11<\/p>\n The Car Show,<\/em> Auto-Station, La Station, Nice<\/p>\n <\/p>\n 2010 <\/strong><\/p>\n Light – Dark<\/em>, UMAM, Ch\u00e2teau de Cagnes- Sur-Mer<\/p>\n <\/p>\n 2009-10 <\/strong><\/p>\n Hypothetical,<\/em> curator Catherine Macchi, Atelier Soardi, Nice<\/p>\n Black lines<\/em>, Jules Ch\u00e9ret Museum of Fine Arts, Nice<\/p>\n <\/p>\n 2008 <\/strong><\/p>\n Biennale of N\u00eemes<\/em>, La Salamandre Gallery<\/p>\n We don’t take the same ones and we start again<\/em>, Chapelle des P\u00e9nitents Blancs, Falicon<\/p>\n <\/p>\n 2007 <\/strong><\/p>\n Tumbleweed II<\/em>, Collectifs N202 and Le White Club, Museaav, Nice<\/p>\n Art is amazing<\/em>, Galeries Lafayette, Nice<\/p>\n Tumbleweed<\/em>, N202 Collective and The White Club, Salzburg, Austria<\/p>\n Generation 2007<\/em>, Galerie de la Marine, Mu- seaav, Nice<\/p>\n Student exhibition, Experimental Gallery, Villa Arson, Nice<\/p>\n <\/p>\n 2006 <\/strong><\/p>\n Ne pas toucher au contour<\/em>, curator Caroline Challan-Belval, Galerie exp\u00e9rimentale, Villa Arson, Nice<\/p>\n <\/p>\n <\/p>\n AIDS, PRIZES, RESIDENCES<\/strong><\/p>\n <\/p>\n 2018<\/strong><\/p>\n Residence Voyons Voir, CAC, Ch\u00e2teauvert<\/p>\n <\/p>\n 2017<\/strong><\/p>\n Residence Penta du Casinca, Corsica<\/p>\n Financial support from the International Center for Glass Art, Meisenthal<\/p>\n CCE residency, fire arts and new technologies, ENSA, Limoges<\/p>\n <\/p>\n 2016<\/strong><\/p>\n Sophia residence, private sponsorship, Versailles<\/p>\n Residency at Vent Des For\u00eats, Rural Art Center, Meuse<\/p>\n <\/p>\n 2014\/2015<\/strong><\/p>\n Sponsorship La Foresti\u00e8re du Nord, Igny<\/p>\n<\/div>\n<\/div>\n<\/div>\n <\/p>\n 2012 <\/strong><\/p>\n Residence in Anyskciai, Lithuania<\/p>\n <\/p>\n 2011 <\/strong><\/p>\n Creation aid, DRAC, Aix-en-Provence<\/p>\n <\/p>\n 2010 <\/strong><\/p>\n Bonnard Prize, UMAM, Cagnes-Sur-Mer<\/p>\n La Foresti\u00e8re du Nord, sponsor, production and publishing assistance, Igny<\/p>\n <\/p>\n 2004-05 <\/strong><\/p>\n Erasmus scholarship, exchange with the Fine Arts of Hangzhou, China<\/p>\n <\/p>\n <\/p>\n PUBLICATIONS<\/strong><\/p>\n <\/p>\n 2010 <\/strong><\/p>\n ARCHAEOLOGICAL CONGRESS OF FRANCE – Nice and Alpes-Maritimes Nice : Abbaye de Saint Pons ; p. 39\/40<\/p>\n <\/p>\n 2009 <\/strong><\/p>\n INRAP – Operation of the excavations of the tramway in Nice directed by Marc Bouiron : Chap. 5.<\/p>\n Studies and Analyses of Painted Plaster Fragments from the 15th century<\/p>\n ARCH\u00c9AM – Archaeological Review: Special Report on the Abbey of Saint Pons, The Abbey Church of Saint Pons in Nice: an Example of Juvarrian Architecture<\/p>\n <\/p>\n 2008 <\/strong><\/p>\n MEMORY – Master II, University of Letters and Human Sciences in Nice: The Abbey Church of Saint Pons and the Old Monastery<\/p>\n <\/p>\n <\/p>\n INDIVIDUAL CATALOGS<\/strong><\/p>\n <\/p>\n 2011 <\/strong><\/p>\n Bonnard Prize 2010- Kanesuiban 2011, \u00c9ditions U.M.A.M.<\/p>\n <\/p>\n 2010 <\/strong><\/p>\n Trames de l’imaginaire<\/em>, Charlotte Pringuey- Cessac, Drawings and sculptures, \u00c9ditions La Foresti\u00e8re du Nord<\/p>\n <\/p>\n <\/p>\n PUBLIC ORDERS<\/strong><\/p>\n <\/p>\n 2018 <\/strong><\/p>\n INFRA, archaeology of the body or how gestures build, CAC de Ch\u00e2teauvert, Voyons Voir residence<\/p>\n <\/p>\n 2016 <\/strong><\/span><\/p>\n Sperenza<\/em>, Vent des For\u00eats, Fresnes-au-Mont, Meuse<\/span><\/p>\n <\/p>\n 2011 <\/strong><\/p>\n Wall drawing – charcoal<\/em> (70m2), Hall of the School Sciences Po Mediterranean, City of Menton[\/vc_column_text][\/vc_tab][vc_tab title=”SELECTION OF WORKS” tab_id=”1410959083-2-833f7-6b51f650-a744″][vc_column_text css=”.vc_custom_1626530959649{margin-top: 0px !important;margin-right: 5% !important;margin-bottom: 100px !important;margin-left: 5% !important;}”]<\/p>\n <\/p>\n [\/vc_column_text][\/vc_tab][vc_tab title=”STORE” tab_id=”1410959544887-4-033f7-6b51f650-a744″]
\nof 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)<\/p>\n
\nThis outfit, which imitates its environment in order to better blend in, is the image of the artist’s compositions, which never cease to oscillate between fusion and distancing, presentation and representation, clue and image, whisper and silence.<\/p>\n
\n philosopher and art critic<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n