For Gretel Weyer, taking on the unique space of the Grande Place was a challenge that proved immediately inspiring. Trained as a ceramist, the artist felt in tune with a site that hosts not only a presentation space but also a production center: fire, the key element in the manufacture of crystal, is also the element that transforms the clay she manipulates and with which she must learn to come to terms. Secondly, the volumes of the display cases reserved for the works of guest artists were reminiscent of a small theater on which the stories of everyday life are played out.
She thus imagined "Les invités", an exhibition conceived as an unfolding of stories freed from any classical narrative, where the ordinary rubs shoulders with the fantastic. In the domestic dioramas she invites us to discover, objects come to life and transform, animals appear in the intimacy of the home, and the presence of a form of magic is felt at the heart of the house. Fairy tales come to mind, but you can't quite place where you might have encountered those snakes gushing out of a basin or that furry chair. But Gretel Weyer's stories are not just folk tales, they are the outlines of a world that is both personal and open to individual reverie.
She thus imagined "Les invités", an exhibition conceived as an unfolding of stories freed from any classical narrative, where the ordinary rubs shoulders with the fantastic. In the domestic dioramas she invites us to discover, objects come to life and transform, animals appear in the intimacy of the home, and the presence of a form of magic is felt at the heart of the house. Fairy tales come to mind, but you can't quite place where you might have encountered those snakes gushing out of a basin or that furry chair. But Gretel Weyer's stories are not just folk tales, they are the outlines of a world that is both personal and open to individual reverie.
This text was translated by an AI.
