Dr. Stéphanie Boulard (Professeure à la Georgia Tech in Atlanta , États-Unis), Christophe Cartier (peintre and co-fondateur de visuelimage.com) et Christoph Tannert (curateur , critique d'art et directeur du Künstlerhaus Bethanien, Berlin)
Chaque copie est signée et numérotée par l'artiste. Elle est également accompagnée d'un tirage en édition limitée de l'Hydre sur une édition de 100 exemplaire + 25 copies presse.
Diane Ducruet’s work is characterized by her desire to query photography together with society. She has found her way of expressing herself with her unmistakable sense that allows us to see everyday life, especially the familiar atmosphere, in a new way. Since many of her images are remarkably suggestive even though they constantly shift conventional standards from the way they are set up, the observer follows the interlaced, occasionally absurd and deconstructed paths.
Nevertheless, the observer recognizes the central theme just by glancing at this patchwork of motherly love, physicality, extracts, montage, gestures and the playing with shapes and materials. And so it cannot be overlooked the image concepts of Ducruet’s self-portraits and the works of her « Family Album » are part of the intellectual effects and the expansion of themes circling around gender identity, on the one hand around the fragmentation of the I and, on the other hand, around the vision of a full life.
Ducruet shows us the cracks in the human mask we display. She plays a picturesque game with body axis and body centers, thereby driving decentralization, flexibility and fragmentation of the private as part of the public forward and vice-versa. References to body art as well as the perseverance of art history stabilize her portfolio of images in this connection. What is unusual about these images lies in the interlaced mixture of antagonistic and yet wisely balanced building blocks of her compositional approach.
Diane Ducruet’s images support themselves on meaningful indications in which everyone recognizes his or her own ghosts. Perhaps this is why the observer is spontaneously taken. In the images of the artist, we encounter the new, racing fragmentation of the world, which threatens to tear us into a labyrinth of chaos, which we face with desperate astonishment.
by Christoph Tannert Artistic
Director / Künstlerhaus Bethanien