Fanny Ferré

Les Lavandières

La petite fille aux couettes


Artistic approch

Does she carve ? Does she design ? Does she re-invent the image of man ?

Yes, Fanny Ferré does all this. Avtually, she re-creates man at the picture of the elapsing time. With transfers, questions rooted to his face, smiles to express pleasure and anxieties, such is the man, without any time background, because he belongs to unreal time, being a man of this time. Bron from the earth, under the hands and gestures of a woman identified to the earth. Which he exploits combining art and matter in a perfect symbiosis.

Fanny Ferré holds a creative power to enter the service of the earth.

The fair of light which, in the depth of a cave that it adopted as a workplace, bwlt a troglodytic world which it revelas to the carthings.

With her statues in baked clay, a whole world is there : men, women, with a nursling, children, a dog … her characters perform essential everyday gestures with water, food. They they walks, stop, women carry freshly washed binen on their heads, the woman putting down in her pockets. All these characters are strikinly similar to authentic human beings. All these repeated deep-rooted-in-time gestures, nor have no age nor origin, that is a free state, wide and fearless in short primitive. The truth in Fanny Ferré’s sculptures is that they use the precise gesture.


Her methode of works is ancestral. It’s called the stockdove technique an dit consists in applying, row after row, blood sawsages made a creative asumption –Exercise has a serious sense of balance because Fanny generally (works in real conditions) makes life-size presentations. The final form character is. And all this is true right from the very begining of the character’s reaction, as the first table setting conditions the whole, the slight mistake leads imperatively to the destructions of the work.

And Fanny Ferré excelledin doing this kind of exercise. That turns to be her second nature. The eye and gesture know how and knack.

The bronze of  Fanny Ferré required a long time to mould the most intimate details and obtain that sheen with suitable shades desired by the artist. It is the Art smelting works of la Plaine (fonderie d’Art de la Plaine) that achieves the bronze casting and works in close partreship with the she artisanal tradition, both the spirit and the thequality of the works that were left to Fanny Ferré’s care.


Fanny Ferry was born in 1963, in Normandy (France), from an artist family. (Father is a painter and her mother a theatre actress).

Fanny studied in the Fine Arts schools in Angers and Paris before she attended various training-courses in well known. Workshops such as the eanclos in Paris, the Manufacture Nationale in sèvres and that of Ricards Licata which deals with experimental engraving in Venice. Fanny’s works were rewarded with several prizes, among which 2nd prize in the biennal of ceramics in Chateauroux in 1987. in 1990 she receives the prize from the salon International de la fondation Bleustein – Blanchet in Paris. In 1992, that’s the Max Laeuger which was assigned to her in Lorrach in Germany, in 1996 she won the prize in the binnal in Conches. And since 1984,  Fanny’s works were displayed in many exhibitions either ingroup or individual.

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