The reversible perspective
In recent years, Fanny Senocq has used events from working life as a starting point for exploring group dynamics. By turning the narrative on its head, seemingly concrete ideas about power, hierarchy, myth-making and genius cult are transformed into a unique, dynamic visual language – one reminiscent of the Rorschach test, but also of Arcimboldo's playful, reversible still lifes. Fanny draws inspiration from interpersonal interactions, from the hypnotic and sometimes destructive power of patterns, and from emotions that need to be unearthed.
The Upside Down series emerged in parallel with the artist's work as a set designer in the performing arts. Initially, she chose gouache on paper for practical reasons: her studio was located in the kitchen of her home, and with a small child, she wanted to avoid the smell and messiness of oil paint. The transition from large canvases and oil-based media took time, but gouache gradually established itself as her favourite medium, even after she moved to her own studio.
The series, developed over eight years, became a way of processing personal and professional experiences. Based on her own experiences and those of others, the works explore how a culture of silence and crises affect mental and physical well-being. She observes that the dynamics of large creative projects can be both uplifting and destructive, depending on the composition of the group and the quality of leadership.
Her images are neither directly figurative nor entirely abstract; they filter reality through the subconscious, permeated by external references. Hidden forms and figures emerge within the compositions, inviting the viewer into an ambiguous space. The artist herself describes this practice as “kitchen sink surrealism”.
Foto: Fredrik Lundqvist
Performance by: Emanuel-Arts