La nasse, 2024
Fanny Gueniot  

Painting : acrylic · 80 x 120 x 1.5 cm 31.5 x 47.2 x 0.6 inch · Ready to hang

$4,636 4 636 $US

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Shipped from: France

Delivery to: United States , $ 307

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Verified Reviews : 9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed, ready to hang

with stretcher frame

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the artist

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

80 x 120 x 1.5 cm 31.5 x 47.2 x 0.6 inch Height x Width x Depth

Sold by

Independent artist

Credentials

Vetted seller since 2026

Description

In an aquatic universe with the appearance of freedom, Fanny Gueniot stages bodies that, however, seem incapable of moving freely.

The figures embrace, carry, restrain themselves, and cling to each other, composing a kind of organic trap.

At the center, the female figure and the child concentrate the issues of motherhood and family burden. The male bodies surrounding them evoke protection, authority, and control in turn. Yet, nothing is unequivocal: what protects can also imprison, what connects can also hold back.

Water, traditionally associated with freedom and fluidity, becomes a paradoxical space here. One can swim in it, but one cannot breathe without constraint.

Through this confrontation between movement and immobility, Fanny Gueniot questions the visible and invisible shackles that shape female existences: assigned roles, social expectations, motherhood, dependence, and the weight of the collective gaze. Bodies become metaphors for a grip sometimes so deeply internalized that it merges with the bonds that unite us to others.

Nude

Under Water

Conceptual

Status of Women

Social-Realism

Sociology

Beige

Sky blue

Fanny Gueniot, La nasse

Fanny Gueniot

France  • 1987

Presentation

Fanny Gueniot is a French visual artist who develops a practice crossing painting, drawing, and ceramics. Her pictorial and sculptural practice revolves around the figure, conceived not as a simple representation, but as a fragile apparition, in tension between presence and disappearance. Her works are constructed in a deliberately unstable balance between abstraction and figuration, leaving an essential place for the unfinished, for floating, and for the circulation of the gaze. Material occupies a central place in her work. She does not just seek to describe a form, but to bring it to emerge. The surfaces are constructed by successive strata, like deposits of memory where the gesture remains perceptible. This sensitive approach invites an experience of the gaze that is slow and attentive, where suggestion prevails over affirmation. The figures that appear in her works do not tell a story in the narrative sense. They present themselves as states, fragments, thresholds, leaving the viewer the freedom to build their own connections and interpretation.

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