Contact us
Celine Trinquet
2016 exhibition
Céline Trinquet plays with straight-line courses. She followed a DEUG in Visual Arts in Paris 8 then turned to a master's degree in science and technology in cultural mediation, after which she benefited from a one-year artistic training around engraving, stained glass and painting. textile art. She will then take care of the programming of a cultural café for 5 years by seeking to make culture accessible to all with proposals for textile book workshops for women in literacy classes and writing workshops. She then decides to resume her studies to become a specialized educator with the desire to use her training and her experiences as a mediation tool. She has worked for 8 years in adult psychiatry and offers various artistic expression workshops. Her meeting with Christian Sabas (founder of the Atelier du Non Faire), will give her the desire to turn to artistic mediated therapies with which she has been training for 3 years.
“Oddities materializing accidental movement. "
To have tact in your eyes, to strip your gaze of common use, to see with your own eyes: this is what Céline Trinquet offers us with her ceramics with complex and strange organic shapes, a sort of cabinet of curiosities, where the artist is inspired less by models imposed by nature than by random creation processes. Here, chance asserts itself as an internal principle, a game whose error is understood as a necessary detour where beauty finds its true place.
The result ? Oddities materializing accidental movement: either as an evolution, a process of transformation, a metamorphosis in a double and indeterminate sense; either as a change of nature according to the point of view of the object in space; or in the referential displacement of the subject by venturing onto the drawn surface of the objects and its multiple landscapes.
Céline thus proves to us that disorder has reality only for the spectator alienated in the observation and that the product of the mental synthesis of the object is always unexpected. Likewise, using ceramic as a support for his drawings, the artist creates this ambiguity between real and apparent volume through his fine and often discontinuous lines, suggesting in some of his works relationships between anatomical maps and topos of imaginary landscapes.
To see with one's own eyes is to borrow the child's gaze, it is both playing and leaving the game, it is to rejoice in the contemplation of recreated nature. Céline played. It's up to you to do the same ...
The result ? Oddities materializing accidental movement: either as an evolution, a process of transformation, a metamorphosis in a double and indeterminate sense; either as a change of nature according to the point of view of the object in space; or in the referential displacement of the subject by venturing onto the drawn surface of the objects and its multiple landscapes.
Céline thus proves to us that disorder has reality only for the spectator alienated in the observation and that the product of the mental synthesis of the object is always unexpected. Likewise, using ceramic as a support for his drawings, the artist creates this ambiguity between real and apparent volume through his fine and often discontinuous lines, suggesting in some of his works relationships between anatomical maps and topos of imaginary landscapes.
To see with one's own eyes is to borrow the child's gaze, it is both playing and leaving the game, it is to rejoice in the contemplation of recreated nature. Céline played. It's up to you to do the same ...