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Gaëlle Cressent

Gaëlle CressentGaëlle Cressent
Gaëlle Cressentuses mainly manufactured materials extracted from their primary use, her work fits next to Classical Art history by reinterpreting major themes and concepts through variol contemporary techniques. The triviality and economy of means and gestures returned to a crossover aesthetic between Minimalism and Arte Povera.  

Through simple sculptures, installations and photography, Gaëlle Cressent is questioning many conceptual boundaries such as the limit between image and sculpture (Plica ex Plica) or the limit of perception of her work (Te Huur-Te Koop).

Deeper in the analysis work, appears implicitly some criticism of society as a cult of appearance. When she packed the bags (Holliday series In), it’s for contradicting the main used of theme, thein capacity to be fill with the personality of the owner.

The unusable bench becomes sophomoric joke in places where art institutions posture viewer, the art lover in itself is questioned. Again the body is pushed away. Plica ex Plica is the distorted mirror of society which is reflected in the windows of department stores.

Emptied of their product sales, the fair stands are only evacuated structures. In this photographic work in progress (Foire, 2015) Gaëlle Cressent approaches closer to her experience, working as a seller during those kind of events. What has she seen you for three years? vacuum, spectacular constructions, theater scene, fake decor... Mass consumption.

, 2016 is the simple cut of a landscape on plastic bags from a famous French supermarket. What do we see? A piece of cut bag, empty too, a mountain ridge, seen and reviewed a thousand times by thousands.

Beyond a simple aesthetic transfer of daily life by his devious objects, beyond a reinterpretation of the great themes of art and sculpture it’s actually the slightly modified reflection, and gently cynical of our society that the artist gives us to contemplate and to reinvest, day by day in our own lifestyles.