Sylvie Fleury: Yes To All, Galerie Thaddaeus Ropac Paris Marais, 2005 Sylvie Fleury: Yes To All, Galerie Thaddaeus Ropac Paris Marais, 2005
Sylvie Fleury: Yes To All, Galerie Thaddaeus Ropac Paris Marais, 2005
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Overview

Through her references to contemporary visual arts and hallucinogenics, she underlines and embraces socio-cultural spaces and makes them her own.

Sylvie Fleury inhabits the gallery's space once again, mixing references and objects from parallel and yet conflicting universes that she has appropriated as her own. Modifying them from their original uses and in doing so making icons out of them, stars of merchandising even. This time, she has chosen to blend visual arts with psychedelic experience. In fact, psychotropic drugs and research on hallucinations have an undeniable link to the visual arts, the extent of which remains unexplored. Sylvie Fleury, through various means of « customization » will give us the opportunity to explore these links by combining a monolith (reminiscent of John McCracken's famous 'planks'), giant mushrooms, murals made of Swarovsky crystals or painted with optical illusions that recall Buren's stripes and Vasarely. That the mushrooms and the monolith are painted like customized cars or that the paint colors in the murals are similar to those of make-up, only indicate how these different means of 'customization' converge. In this...

Sylvie Fleury inhabits the gallery's space once again, mixing references and objects from parallel and yet conflicting universes that she has appropriated as her own. Modifying them from their original uses and in doing so making icons out of them, stars of merchandising even.

This time, she has chosen to blend visual arts with psychedelic experience. In fact, psychotropic drugs and research on hallucinations have an undeniable link to the visual arts, the extent of which remains unexplored.

Sylvie Fleury, through various means of « customization » will give us the opportunity to explore these links by combining a monolith (reminiscent of John McCracken's famous 'planks'), giant mushrooms, murals made of Swarovsky crystals or painted with optical illusions that recall Buren's stripes and Vasarely.

That the mushrooms and the monolith are painted like customized cars or that the paint colors in the murals are similar to those of make-up, only indicate how these different means of "customization" converge.


In this sense, through her references to contemporary visual arts and hallucinogenics, she underlines and embraces socio-cultural spaces and makes them her own.

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