Sylvie Teissier exhibits her photos at the Depardieu gallery, images-homages to death, to life.
“Du gris à l’âme” (2018) magnified the classicism of funerary statuary or the baroque of silhouettes deformed by windows.
Her “Entrelacs” (2019) transfigured the garlands of cemetery pearls into lush vegetation or mysterious insects.
Her “Entailles” (2020) revealed, with the scars of succulents closed over hearts or initials, the similarity of our suffering flesh.
“Pariétal” (2021): From Lecce (a city in Puglia), Sylvie Teissier brings us real paintings by lighting, reframing posters and leaflets stuck on gas or electricity connection plates, then torn, enhanced with traces of paint. Thus, industrial work, gestures of passers-by and the artist’s vision mutually enrich each other;
“Eau de là” (2022) facing the reflections photographed at the Col de Vence, after the rain. If the receptacle is modest, even derisory (the puddle), the space unfolds over three dimensions and the earth here has a real vocation as a planet;
“VITRINE-Bd PRINCE HENRI-LUXEMBOURG” (2024) invites us to reconsider this tangle of appearances and reflections in our own mirror. Because looking at oneself requires the gaze of others; and if this other who faces you is only an imitation of the being, a doll, a mannequin, then something gets confused, dispersed, in the bottomless enigma of oneself. This is what never ceases to be fascinating in this wandering of the photographer’s gaze on the world.
“With simple means (Sylvie Teissier never retouches her photos), it is a journey through space and time that she offers us, it is the vision of an artist who modifies the world in her snapshots and lets us dream.”
Régine LAURO
“There is in Sylvie Teissier a singularity of the glance.”
Paul Laurent
