To Dream, to Collect


Sarah Krespin

1993 London, United Kingdom

1 Works exhibited

Current location


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  • About the Artist

Sarah Krespin currently lives in Paris and holds a Masters in Research, Creation and Contemporary Plasticities from the Sorbonne School of Arts. As a result of her career at the Duperré School and the Sorbonne, she is as interested in technique and the possibilities offered by textiles as in contemporary questions about the place of uncertainty in art.

Opposing head on to the idea of ​​a final and definitive form of the work, she considers sculpture above all as an organic and evolving element. The form that is shown in an exhibition is only a physically arrested state of an idea in transition. The primacy returns to the gesture. It initiates work that is never preconceived and intervenes within the creative process both as conceptualization and as materialization of an emotion or an idea. The work is an intimate dialogue as much as a questioning.

To what extent can we give substance to uncertainties?

Attempts at answers can be found in her woven sculptures or in her blocks of sutured paper. In a long, silent and intimate time, Sarah tries to give shape to her uncertainties, to materialize her own wanderings.

The gesture in Sarah is always conceptualization and materialization of intellectual and emotional content. Her recycled paper sculptures, for example, are obtained after an endless cycle of destruction and reconstruction of matter. The found paper is crushed to create new material, which will also be destroyed when completed. The hand tears, crumples, punctures and then begins a process of reconstruction, healing thanks to the seam. Tirelessly, the gesture materializes a state of resilience and becomes a place of tangible expression of inner struggles. The questioning of gestures is found in her work of woven sculptures. The pieces have the supple and crumpled shape of an ordinary fabric, frozen for the duration of an exposure by the use of copper wire which keeps the memory of the shape. These materials, which seem left there, placed in the exhibition space, adopt hazardous forms that can be modified by the artist with each installation. The intrinsic characteristics of the materials give shape to the object.

While part of the process is part of a repetitive and mechanical construction system, the other deconstructs the latter to create an organic form echoing the living. These dualities present in Sarah's multidisciplinary work challenge the viewer on nature as well as on the identity of the object in front of him. She is faced with hybrid things, uncertain attempts to give shape. The gesture begins where the speech ends. Can anyone still calmly assert what will constitute tomorrow? Sarah's work reflects the uncertainty of her time. The temporalities seem to intersect. Technological possibilities open up avenues capable of taking humanity in directions that were then unknown to it.

At the same time, religious fundamentalism, climate catastrophism or a globalized pandemic reveal fears that are deeply rooted in human consciousness in a very contemporary light. Sarah talks about this. Without a word. Her sculptures evoke these strange places, these anachronisms. A mass of tissue lets glimpse a fossilized form from the depths of time. Another evokes the ruin of the civilization of concrete and metal. Strange shapes are given to be seen, but under the chrysalis, we usually find an empty body. The whole thing will hold for a while thanks to the suture, and a reconstruction will follow the fall. Resilience betrays a timid but stubborn hope. In this sense, Sarah's work speaks of tomorrow. It is the silent, intimate and nervous testimony of her desire to bring out bodies from the amniotic uncertainty in which we operate.

- Axel Fried

Works by Sarah Krespin

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110 x 40 x 20 cm

2200,00 €


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