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photography, sculptures, video  by Cyril Carret

10 March~30 April 2016

C.Carret exhibition 1
CC 1
Willy quadriptyque 4
Willy quadriptyque 3
Willy quadriptyque 2
Willy quadriptyque 1
Willy portrait
CC Press 17 S
Olivier triptyque 3
Olivier triptyque 2
Olivier triptyque 1
Olivier portrait
Mouhiba triptyque 1
Mouhiba triptyque 2
Mouhiba triptyque 3
Mouhiba portrait
Marième 1
Marième 2
Lea 2
Lea 1
Gioia 2
Gioia 1
Gioia portrait
Camille 2
Camille 1

Cyril Carret talks about his work on CELLULE (Cells) :

At the origin of this plastic and photographic work, there is my admiration for the obstinate accuracy of the weaver birds which always make their nests according to the same ancestral pattern at random materials met in the nature. Originally there is an outcome of a psychoanalytical research to undo the determinism of my history. And my passion for still lives and twilights of the Italian painter Caravaggio.

Cells (masks) are put on the naked body of the models. Made -by myself- from cables bones or halyards gleaned in the course of my meetings and feelings, this exoskeletons contrasts with the loosened bodies showed with no subtleties nor eroticism. What obstacle are they the expression of ? What prisons, which cages are engraved in those hurt and rangy bodies lost in this neutral environment made of concrete ? They are what escapes us and resists us, what blocks us : the repressed desire, the desire which does not say its name, what we do not manage to build or to solve. In the snares weaved by the mask, the story of our neuroses is trapped with our confinements and our inheritances.

Metaphoric Cells and vulnerable bodies: exorcisms.

Anne-Sophie Rousset, professor of philosophy, talks about Cyril Carret’s work :
Cyril Carret's work develops patiently, silently, a singular universe. The photography is here the ultimate stage of seizure of a long and meticulous work of plastic creation which takes its roots in the relationship with the material. The raw material, the trivial material, even the waste sometimes is got back, accumulated then ordered by the artist who appears to sculpt transcend it in subtle and bright compositions. Through this precise, stubborn shaping happens an order, aesthetic then photographic, which transforms it radically, and which shows the metamorphosis. The work then adorned to reveal, in its forms and its puzzling compositions, what the world can have of profoundly dreamlike. The photography stops our look, and calls it to the pondering, thanks to a set of contrasts which destabilises it: between the triviality of the materials and the beauty of the composition; between the extreme visual precision and the produced shady emotion; between its photographic nature and its obvious links to sculpture or paintings. Whenever it’s about portraits, still lives or puzzling plastic layouts, every photography works the paradox to disturb, attract, deepen our vision. It is a game with the somber and the bright, the trash and the sublime, the harmless and the mysterious. The image destabilises our sight, renews it, densifies and opens it. The series “Cells" offers for us the portrait of naked bodies with faces embedded in masks which enclose them. These masks patiently made, like somber jewels, lock entirely the faces that become invisible, forced, imprisoned. Whereas bodies show themselves as they stand in their nudity, the individuality disappears behind the mask. And we feel its subjection as well as its desire of emancipation, probably painful. The series shows bodies without make-up in a motionless and fixed movement and faces adorned but totally locked. The artist builds portraits which show the dissonance between our quest for freedom and all which imprisons us, between our desire of others and our solitude. The image, skilfully elaborated, shows then the tension which crosses our human condition. And the art piece, again, pushes us in this demanding universe to show through its beauty as well our confinement as our difficult quest of ourselves.


Cyril Carret 的作品慢慢地發展,形成獨特的小宇宙。這系列的照片展示了塑膠創作的最終成果,經過長時間累積而製作出來的細膩作品,表現了作品與材料的密切關係。藝術家收集原材料和零碎物料,有時甚至收集廢料,然後把累積起來的材料重新編排。他的作品低調而令人眼前一亮,把雕刻昇華至另一層次。精確地塑造出來的作品,先在美學上表現,再於照片上呈現,徹底轉化,展現銳變。經過潤飾的成品,以自身方式和不明的組合,揭露這個世界可以如夢想中一樣深刻。這些照片攝住我們的眼球,並讓我們深思。這要多謝一系列失衡的對比:零碎的材料襯托了組合的美感;精準的雕塑對比出黑暗情感;作品的攝影特質表現了雕塑和圖畫的直接關係。




CELULLE 展示了一系列肖像,相中人赤裸身軀,戴著完全覆蓋頭部的面具。這些面具經過精雕細琢,就如沉實的珠寶一樣。面具完完全全籠罩面部,彷彿被迫困在黑暗之中。祼露的驅體展現自我本質,但個性則隱藏在面具背後。我們可以感覺到照片中人雖像奴隸,但卻渴望解放,這是種痛苦的情感。這系列展出的驅體沒有上妝,沒有情感,靜止不動,裝飾重重包圍臉孔。藝術家的創作表達了這些失調:我們追求自由,但又飽受制肘;我們想找三朋四友,但又孑然一身。這些精心製作的照片所表達的張力,劃過人類的現狀。藝術品再次把我們推向這嚴密的小宇宙,利用作品的美感,表達我們對自己嚴厲的要求和約束。




「這些雕塑和攝影作品源於我敬佩韋弗鳥(weaver birds)對準確度的執著,他們總是按祖傳的形態,採用隨意找到的天然素材築巢。原有的一份心理分析結果撤銷我歷史上的決定,以及我對意大利畫家卡拉瓦喬(Caravaggio)的靜物畫和黃昏的熱情。

由我親手編成的面罩(Cells)戴在裸露的模特兒上,取材自收集得來的纜繩和鋼索,這面罩與毫無色情味道的人體造成強烈對比。這些作品想表達什麽阻礙? 怎樣的監牢、哪一個牢籠?刻畫了骨瘦嶙峋的人體迷失於現代社會的石屎森林裏:阻擋我們前進的因素、壓抑的欲望,無法解決的問題等。戴上面罩,我們的感官歷程與和壓抑一同困在面罩裡。



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