Charlotte Pringuey Cessac
Charlotte Pringuey Cessac graduated from Villa Arson in 2007. The following year, she obtained a Master's degree in Architectural Heritage from the Universities of Arts and Humanities in Nice and the Facoltà di Architettura in Genova, Italy. This has given her the opportunity to work with researchers, archaeologists, and artisans. Based on human encounters, scientific discoveries, and specific situations, Charlotte Pringuey Cessac's artistic approach is constantly evolving. Whether site-specific, collaborative, and/or historically inspired, her practice is resolutely multifaceted. Recently exhibited at the Terra Amata Museum and the MAMAC contemporary gallery in Nice, she presented a series of installations: porcelain climbing holds representing Venuses or 400,000-year-old stone tools; a memorial sound in homage to Rainer Maria Rilke's Originary Noise; Glass lines created from the drawing of the cranial sutures of a man from Nice in the Early Middle Ages; a video in which a hand draws a line by crushing charcoal, resonating with prehistoric cave drawings; ... She has just completed the NOMADE Project, bringing together 19 artists around a collaborative, traveling, and participatory project recently presented at the Eva Vautier Gallery in Nice. Charlotte Pringuey Cessac is an artist whose goal is to build bridges between different fields and, thus, to make a story, a memory, a trace, tangible...
The Ex-voto and the Red Stoneware are series with the same intention, that of materializing the unrepresentable: emotions.
Both are "skins"—paper-skins, fabric-skins, wall-skins.
They echo intimate memory and are part of art history, referencing the drapery motif and Fra Angelico.
The Ex-voto, pigmented paper skins embossed in the shape of a handkerchief, depict abstract landscapes like the faux marble base of Fra Angelico's fresco "Madonna delle ombre," painted around 1440 at the Convent of San Marco in Florence.
The landscapes of the Ex-votos feign the appearance of false stones in a light and fragile material of paper skin. The embossing of a handkerchief evokes the spiritual and physical charge of our emotions.
The Red Stonewares are imprints of stoneware handkerchiefs glazed in bright red and embody wounds.
The red glaze sublimates and represents the unspeakable: the blood of torture, the blood of life, the blood of incarnation.
