Nothing is what it seems — and neither are you.
Inget är vad det verkar — inte ens du.
Rien n’est ce qu’il paraît — pas même toi.
Galleri Duerr is excited to present Fanny Senocq's exhibition Upside Down, her first solo exhibition with the gallery. Fanny Senocq works as an artist, scenographer, and exhibition designer. Born in France, raised in Sweden, and based in Stockholm.
The Reversible Perspective.
In recent years, Fanny Senocq has drawn on events from working life as a starting point for exploring group dynamics. By flipping the narrative, seemingly concrete ideas about power, hierarchy, myth-making, and the cult of genius are transformed into a unique, dynamic visual language — one that evokes Rorschach tests, but also Arcimboldo’s playfully reversible still lifes. Senocq draws inspiration from interpersonal interaction, from the hypnotic and sometimes destructive force of patterns, and from emotions that demand to be excavated.
The Upside Down series originated alongside the artist’s work as a scenographer in the performing arts. Initially, she turned to gouache on paper for practical reasons: her studio was located in the kitchen of her home, and with a small child she wished to avoid the smells and mess of oil paint. Though it took time to transition away from large canvases and oil-based media, gouache gradually established itself as her preferred material, even after moving into a dedicated studio.
Developed over the span of eight years, the series became a means of processing personal and professional experiences. Drawing from both her own encounters and those of others, the works explore how cultures of silence and crisis influence psychological and physical well-being. The dynamics of large-scale creative projects, she observes, can be either exhilarating or destructive depending on the constellation of the group and the quality of its leadership.
Her images are neither directly figurative nor entirely abstract; they filter reality through the subconscious, infused with external references. Within the compositions, hidden forms and figures emerge, inviting the viewer into an ambiguous space. The artist herself describes this practice as “kitchen-sink surrealism".