Fabienne Audéoud lives and works in Paris after a dozen years in London and Maastricht.
Her solo and collaborative work involves painting, video and music. — fabienneaudeoud.com
Cindy Sherman.
Untitled #122. 1983.
Chromogenic color print.
35 1/4 X 21 1/4 inches
© Cindy Sherman.
Courtesy of the artist and Metro Pictures.
It was in a 1983 issue of the French Vogue magazine {Thanks ever so much}, but I can’t say for sure now... It’s the image that stayed with me though.
I was 15. Art in my family was how well you could reproduce snowy landscapes with farms... Contemporary art did not exist. My favorite music was Philip Glass and Laurie Anderson. I had the feeling I understood well what it did to me. My school friends thought I was really untrendy not to dance on Laura Branigan loosing her self control.
It was a great chance that some stuff could pass the censorship of the evangelical sect I grew up it. Stuff my older brother got from the Swiss radio “Couleur 3”... {Thanks ever so much}
In our strict Brethren community, we knew about the power of music with text, the power of an image was something else. As for an angry woman in a fashion shoot...
I remember thinking something was going on this image that I could not quite define. It was accessible and addressing me. It was powerful, funny, seducing and, at the same time rebellious. I went to my local museum of Fine Art to check out more “images” but could not see anything like it. Old master paintings just didn’t do it for me.
Ten years later, I saw some work by the Young British Artists in London. I was a musician/performer trying to find her way between contemporary music and performance... and I saw, in Time Out {Thanks ever so much} Sarah Lucas’ “Two Fried Eggs and a Kebab”.
And that was it, that peculiar sensation again!
I applied to Goldsmiths and got “in”... {Thanks ever so much}
Fabienne Audéoud