The geometric chaos of Cecile Chaput ⚒🛏🖼
Cécile Chaput has developed a singular creative process through installation and sculpture, which can be compared to the creation of spatio-temporal portals. The decompartmentalization of spaces and the use of our memories allow us to lose our bearings. To allow this, the artist has developed an original lexicon composed in a vocabulary of shapes and domestic materials, emblematic of The Glorious Thirty.
It’s with sensitivity and poetry that Cécile bargain hunts in the search for Formica, Linoleum, plasticized objects, flowery wallpapers and kitsch paintings. The latter are even more valuable when they bear the traces of their use: their polishing becomes the index of a story, a life, and nourishes the imagination of the artist. As in Clay Ketter's paintings, the materials are chosen for their formal beauty and social value. In addition, the same close relationship to textures and symmetry forming trompe-l'oeil, making illusion.
From these kitsch elements, recovered and cut, the artist composes a rhythm of shapes and colors provoking visual, spatial and temporal experiences. It resembles the way Kurt Shwitters spoke of secret musical architecture.
Her installations and sculptures create a geometric chaos, elaborated from coloured and loaded materials. A duality present throughout the plastic process of Cecile, as [violent and physical] as [delicate and fragile].
The artist dismembers, cuts and hammers. This hyper-violence does not detract from its hyper-respect of materials. Quite the contrary in fact. With all the love and fascination she brings to them, it’s with great vision that Cecile appropriates them and redefines these pieces of history.
The materials selected by Cécile point those issues related to the industry, the trend following and its effects on our environment. The artist analyzes the effects of Taylorism, which appeared with the industrial revolution and has penetrated into our interiors: how does industry influence architecture, and consequently our lifestyles?
Cecile studies with seriousness and humor that seems so familiar to us despite it having started almost a century ago. The artist speaks of the "centenary of the first format of spaces".
She observes how the search for maximum optimization could drift towards confinement, individualism and loneliness, and has reverberated on our habitus, our codes, our customs.
The concept of the Frankfurt kitchen and the video of Chantal Akerman “Jeanne Dielman, 23, Quai du Commerce, 1080, Brussels” are two important pillars in the artist’s research and inspirations. Cécile is curious about this moment when things twist, surprise us, and call into question an alleged logical order of things.
Credits Photos: Adrien Daste, Bertille Chéret, Rebecca Fanuele