This new solo exhibition of Angélique is focused on a series of masks in acrylic plaster, entitled "Prosôpons", directly taken from blister packagings of manufactured products that are a priori uninteresting. From the Greek theater, this word originally means both "face" and "mask". Its etymology emphasizes the idea of face, organ of sight, and the external appearance of inanimate things.

Unlike her organdy works that demand great skill, these sculptures required no other intervention than the making of a mold by Angélique. This transfer into the artistic field operates a serendipian transmutation, changing a mere thing into something else, an object without quality into an anthropomorphic mask. Their disproportionate, geometric or inverted organs amaze with their hybrid connection with fetishes of Ethnographic Art and the android creations of new technologies. They also seem to be charged with an uncertain symbolic or ritual function. If the initial intention of the artist was to highlight the aesthetics of packaging products, her approach also echoes the ready-made - in the form of an imprint in this case - and the “Dada” spirit. To paraphrase Max Ernst’s sculpture "Warning: one mask can hide (or unmask) another", Angelique's idols offer multiple levels of reading. They are the survival of the magical nature of art, questions about our consumption patterns and uncertainty about our future in the era of robotization. And many more things...

A publication accompanying this exhibition.

Born in 1957 (France), Angélique is a photographer and sculptor, using different materials (polyethylene terephthalate, acrylic resin) or organdy - a fine cotton weft - from a traditional work of patronage, sewing and embroidery. Her work is regularly shown in public institutions and is part of several collections, such as those of the FRAC Normandie Rouen.