Louise Frydman

Everything went very quickly for Louise Frydman, like a whirlwind. From her first exhibition, success and collectors were there and since then she has traveled the world from project to project. So we had to catch her on the fly, between Paris and Prague to come back with her on this beautiful adventure, to evoke this work on the intimate that she pursues relentlessly, between ceramics and photography. A nice meeting, a very Parisian rainy morning, in a Germanopratin hotel bar.

Louise, was it with a photography exhibition that we first discovered your work six or seven years ago?
It’s true, it seems to me both so close and so far away! After my studies at Penninghen I was looking for myself a bit and I decided to go to New York to do a photography school. Very quickly I made my first exhibition at the Baxter Gallery on a subject that was dear to me, a place that was becoming a ghost, the apartment of my grandparents, the one in which my father had grown up and which they left at that time. It was a place out of time and I wanted to keep track of it. I called this series Plein Silence.

And some time later we find you with a ceramic work?
With the photo, we flutter, we track, maybe I needed to anchor myself, in the earth precisely, by working with ceramics. I started to create mobiles and immediately I had the chance that Amélie du Chalard asked me to make an installation 17 meters long made up of hundreds of ceramic pieces for an exhibition at the Hôtel de Croisilles. in the Marais.