Sylvie Fleury
Vital Perfection
Paris, France: Edition Herve Mikaeloff, 1993
10 x 28 x 17 cm.
Edition of 100 signed and numbered copies
Sylvie Fleury staged three exhibitions titled Vital Perfection: at the Galerie Philomene Magers, Bonn, and at Galerie Rivolta, Lausanne in 1991, and at Galerie Emanuel Perrotin, Paris two years later in 1993. The first two featured installations of shopping bags (see previous post) and the third shoe-boxes.
This multiple is a printed cardboard box, lined with faux-fur, a material often employed by the artist.
Examples of the work appear in the collections of the Museum of Modern Art in NYC, the London Arts Council and the National Gallery of Australia.
Mahoro Seward: The point you make about the dualistic relationship so many of us have with fashion is important. These days, having a critical perspective on fashion is quite common, but that quickly melts away when you see, I dunno, a pair of Prada boots and you just want them. With your work, what’s interesting is that your commentary isn’t just limited to the objects themselves, but it also extends to the paraphernalia, too. Shopping bags and shoe boxes exert the same aura as a handbag. Could you tell us a bit about when you first felt the pull of fashion yourself?
Sylvie Fleury: It’s something I actually forgot about for a long time, but a few years ago, I was invited to be part of an exhibition of drawings that artists had done as kids. So I asked my mom if she had any stashed away somewhere, and she found some. When I was a kid, she used to read this fashion magazine called Jour de France — it was a bit old-fashioned and bourgeois — but at the end, there were these pages that would describe the images. Funnily enough, I’d done these drawings that were exactly that — a model wearing an outfit, and next to it I’d write what they were wearing and who it was by.
No comments:
Post a Comment