Carole Chebron is an artist living and working in Paris, France. She received her degree of Bachelor of Arts in Ceramics, with First Class Honours, from Westminster University, in 2000, and in 2007, her Master in Fine Art from Goldsmiths University, London. She participated in multiple residencies around the world. She was a Teacher and Head of Ceramics Creation Studio at the Institute of French Ceramics in Sèvres, between 2002 and 2005 and has taught volume, clay, space at Art School Beauvais between 2008 and 2012. Carole is currently a Teacher of sculpture and installation ceramics at Paris College of Art (PCA).
Visit Carole Chebron’s website and Instagram profile.
Featured work
Selected works, 2019-2020
Watching, 2020
The expression of fragility is at the heart of my practice: the fragility of what we are, of what surrounds us and builds us; the fragility of our personal and societal values; the fragility of our natural and cultural heritage …
I imagine installations made of objects, or fragments of objects deployed in space.
The object with its symbolic content holds a special place in my work. I play with the symbol, I flay or scratch it for a more enigmatic, singular reading. The object interests me when it becomes suggestive, when it reveals one of these particularities, an unexpected profile.
I am interested in the different levels of meanings conveyed by objects and materials, from the collective to the more personal. In my practice, I try to create a poetic passage from the collective, historical, political, cultural or social meanings toward meanings that are more personal and emotional, the meanings that we give to these objects, these materials. It is in this path of double meaning, that holds the essence of my work.
I am interested in the origin and circulation of raw materials and objects in the world and I often draw parallels between the need to protect living species and our cultural heritage, which is also under threat. I have chosen an artistic practice that takes time. Appearing calm and quiet, my work is nourished by tensions and paradoxes that come from the violence of the firing, the passage from the liquid state to the solid state of other materials and the rigorous nature of my practice. These tensions aim to use the material in new forms, sometimes pushing it to its limits.
Tensions are also produced or generated by a practice that can be repetitive and restrictive but also sensitive and fragile. It is an excessively delicate univers that requires constant vigilance. Work is then caught in a paradoxical game, between strength and fragility, ephemeral and eternal. The object laid bare, its characteristics fade away: the hidden face of the object becomes perceptible, the invisible becomes alive, the object is illusory, sometimes only a trace remains.
If there is violence in some of the subjects addressed, in the passage from one state of material to another, the work is finished when this violence is appeased. However, it is not a question of denying the loss, the disappearance, or the deception anchored in this work. I often play with the notion of multiplicity in my installations. The experience of the whole offers a sensory journey, one that is visual and tactile, no longer of only the object but of all the space thus inhabited.
