ARTISTS
Sylvie Fleury
Sylvie Fleury鈥檚 multimedia practice explores the interplay between fashion and art, scrutinizing the politics of consumerism and fetishism. This interrogation is as provocative鈥攔adically questioning the paradigms of desire and art history鈥攁s it is playful. Continuing their collaboration of over three decades, Spr眉th Magers is pleased to present a solo exhibition featuring a selection of Fleury鈥檚 neon works alongside her installation She-Devils on Wheels Headquarters (2000).
The neons transform commercial language鈥攑roduct names like 鈥溍塯o茂ste,鈥� advertising mantras like 鈥淔aster! Bigger! Better!鈥濃�攊nto meditations on consumption. By isolating these familiar slogans, Fleury exposes the mechanisms through which desire, luxury and identity are constructed and sold in contemporary society. The choice of neon, a quintessential advertising medium, fuses art with commerce and text with sculpture.
She-Devils on Wheels Headquarters references both a 1968 film about an all-female motorcycle gang called The Man-Eaters and Fleury鈥檚 own women-only motoring club, founded in the 1990s after she was refused membership to a car-racing club. The installation includes a red mural with the blocky lettering spelling 鈥淪HE-DEVILS ON WHEELS,鈥� a large-scale neon reading 鈥淗OT HEELS,鈥� blown-up magazine covers and club merchandise鈥攂adges, caps, stickers and T-shirts. The work draws sharp parallels between the paraphernalia of femininity and the tools of motorsport culture, offering an ironic critique of gendered rituals and obsessions.
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Sylvie Fleury鈥檚 multimedia practice explores the interplay between fashion and art, scrutinizing the politics of consumerism and fetishism. This interrogation is as provocative鈥攔adically questioning the paradigms of desire and art history鈥攁s it is playful. Continuing their collaboration of over three decades, Spr眉th Magers is pleased to present a solo exhibition featuring a selection of Fleury鈥檚 neon works alongside her installation She-Devils on Wheels Headquarters (2000).
The neons transform commercial language鈥攑roduct names like 鈥溍塯o茂ste,鈥� advertising mantras like 鈥淔aster! Bigger! Better!鈥濃�攊nto meditations on consumption. By isolating these familiar slogans, Fleury exposes the mechanisms through which desire, luxury and identity are constructed and sold in contemporary society. The choice of neon, a quintessential advertising medium, fuses art with commerce and text with sculpture.
She-Devils on Wheels Headquarters references both a 1968 film about an all-female motorcycle gang called The Man-Eaters and Fleury鈥檚 own women-only motoring club, founded in the 1990s after she was refused membership to a car-racing club. The installation includes a red mural with the blocky lettering spelling 鈥淪HE-DEVILS ON WHEELS,鈥� a large-scale neon reading 鈥淗OT HEELS,鈥� blown-up magazine covers and club merchandise鈥攂adges, caps, stickers and T-shirts. The work draws sharp parallels between the paraphernalia of femininity and the tools of motorsport culture, offering an ironic critique of gendered rituals and obsessions.
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