The geometric chaos of Cecile Chaput βš’πŸ›πŸ–Ό

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CΓ©cile 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 CΓ©cile 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.

Cecile Chaput
Cecile Chaput
Cecile Chaput
Cecile Chaput
 

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.
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The flattened corner :    Formica furniture, linoleum, wall paper, wood, chair, table, installation  in situ.  425x395x325 cm

The flattened corner: Formica furniture, linoleum, wall paper, wood, chair, table, installation in situ. 425x395x325 cm

 

The materials selected by CΓ©cile 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?
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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. 
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The detonate(d) room:  Formica furniture, linoleum,  wall paper , wood, chair, installation in situ.

The detonate(d) room: Formica furniture, linoleum, wall paper, wood, chair, installation in situ.

The slant point:  Formica furniture, linoleum,  wall paper , wood, chair, table, tarpaulin, installation in situ. 425x395x325 cm

The slant point: Formica furniture, linoleum, wall paper, wood, chair, table, tarpaulin, installation in situ. 425x395x325 cm

 

The concept of the Frankfurt kitchen and the video of Chantal Akerman β€œJeanne Dielman, 23, Quai du Commerce, 1080, Brussels” are two important pillars in the artist’s research and inspirations. CΓ©cile is curious about this moment when things twist, surprise us, and call into question an alleged logical order of things.
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Extrait of a text by AurΓ©lie Faure aka Katarina Stella, as part of Cecile Chaput first solo exhibition at the Underconstruction Gallery, with the support of the CNAP. 

The split corner:  Formica furniture, linoleum, wallpaper, wood, chair, table, installation in situ. 325x195x125 cm

The split corner: Formica furniture, linoleum, wallpaper, wood, chair, table, installation in situ. 325x195x125 cm

Credits Photos: Adrien Daste, Bertille ChΓ©ret, Rebecca Fanuele