Sylvie Fleury’s practice produces enticing works which let art, consumerism and life collide.

Speaking to contemporary conditions, her sculptures, paintings, neon pieces and videos continue to defy expectations and definitions and remain plural. The extensive exhibition at Sprüth Magers, London, celebrates the gallery’s longstanding relationship with the artist and provides an insight into her spectacular and varied body of work spanning three decades.

 

Sylvie Fleury – S.F. – London

Sylvie Fleury
Milano, 1991
Shopping bags with content
Dimensions variable

More views
Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
Milano, 1991
Shopping bags with content
Dimensions variable

Sylvie Fleury
Milano, 1991
Shopping bags with content
Dimensions variable

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Milano, 1991 (detail)

Sylvie Fleury
Milano, 1991 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Milano, 1991 (detail)

Sylvie Fleury
Milano, 1991 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Milano, 1991 (detail)

Sylvie Fleury
Milano, 1991 (detail)

Details
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Sylvie Fleury – S.F. – London

Sylvie Fleury
No Man's Time, 2023
Dibond aluminum mirror, digital print
250 × 250 cm
98 3/8 × 98 3/8 inches
Edition of 8

Sylvie Fleury – S.F. – London

Sylvie Fleury
Fitting Room, 2023
Metallic structure, fabric
270 × 130 × 130 cm
106 1/4 × 51 1/8 × 51 1/8 inches

In No Man’s Time (2023), the Swiss artist revisits her first artwork from a series of celebrated installations comprising assortments of luxury shopping bags arranged on the floor. Here, a mirror displaying a photo-silkscreened image of Fleury positioning her early work while dressed head to toe in Alaïa is presented alongside three further branded bag sculptures from the 1990s. The work is titled after the exhibition it was first shown in and also references Michelangelo Pistoletto’s Mirror Paintings. Pistoletto, one of the main proponents of Arte Povera, establishes an active relationship between the viewer’s reflection and the artwork’s figure, thereby creating a portal between art and life. Similarly, Fleury’s reflective plane invites viewers into the work to experience reality, image, time and space collapsing within it.

Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
No Man's Time, 2023
Dibond aluminum mirror, digital print
250 × 250 cm
98 3/8 × 98 3/8 inches
Edition of 8

Sylvie Fleury
No Man's Time, 2023
Dibond aluminum mirror, digital print
250 × 250 cm
98 3/8 × 98 3/8 inches
Edition of 8

Sylvie Fleury – S.F. – London

Sylvie Fleury
Fitting Room, 2023
Metallic structure, fabric
270 × 130 × 130 cm
106 1/4 × 51 1/8 × 51 1/8 inches

Sylvie Fleury
Fitting Room, 2023
Metallic structure, fabric
270 × 130 × 130 cm
106 1/4 × 51 1/8 × 51 1/8 inches

Details
icon_fullscreen
1 of 2

In No Man’s Time (2023), the Swiss artist revisits her first artwork from a series of celebrated installations comprising assortments of luxury shopping bags arranged on the floor. Here, a mirror displaying a photo-silkscreened image of Fleury positioning her early work while dressed head to toe in Alaïa is presented alongside three further branded bag sculptures from the 1990s. The work is titled after the exhibition it was first shown in and also references Michelangelo Pistoletto’s Mirror Paintings. Pistoletto, one of the main proponents of Arte Povera, establishes an active relationship between the viewer’s reflection and the artwork’s figure, thereby creating a portal between art and life. Similarly, Fleury’s reflective plane invites viewers into the work to experience reality, image, time and space collapsing within it.

Transforming all of the gallery’s spaces, Fleury uses the strategies of the fashion, beauty and advertising industries to challenge paradigms of Western art history, its male modernist canon as well as examine the art world’s complicity with the dynamics of consumerism. Alongside several of Fleury’s iconic pieces, new works produced especially for the show will be on display.

 

Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000
Mixed media
Dimensions variable

More views
Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000
Mixed media
Dimensions variable

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000
Mixed media
Dimensions variable

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Sylvie Fleury
She-Devils on Wheels Headquarters, 2000 (detail)

Details
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References to the project She-Devils on Wheels – a motoring club for women only, founded by Fleury in the 1990s after being refused membership to a car-racing club – suggest the organization set up its headquarters amid several artworks.

 

Sylvie Fleury – S.F. – London

 

“In 1973 there was one of the biggest oil crises, and everyone who had American cars with big engines sold them. They were almost worthless. When I was eighteen I had 500 francs to buy a car. There was a red ’68 Camaro which cost 500 francs and which I took straight away. I fell in love.” —Sylvie Fleury

Sylvie Fleury – S.F. – London

Sylvie Fleury
Faster! Bigger! Better!, 2022
Neon, warm white
114 × 120 cm
44 7/8 × 47 1/4 inches
Edition of 12 + 2 AP

Sylvie Fleury – S.F. – London

Sylvie Fleury
Hubcaps, 1997
Tire caps (12 parts)
155 × 214 cm
61 × 84 1/4 inches

Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
Faster! Bigger! Better!, 2022
Neon, warm white
114 × 120 cm
44 7/8 × 47 1/4 inches
Edition of 12 + 2 AP

Sylvie Fleury
Faster! Bigger! Better!, 2022
Neon, warm white
114 × 120 cm
44 7/8 × 47 1/4 inches
Edition of 12 + 2 AP

Sylvie Fleury – S.F. – London

Sylvie Fleury
Hubcaps, 1997
Tire caps (12 parts)
155 × 214 cm
61 × 84 1/4 inches

Sylvie Fleury
Hubcaps, 1997
Tire caps (12 parts)
155 × 214 cm
61 × 84 1/4 inches

Details
icon_fullscreen
1 of 2

“In 1973 there was one of the biggest oil crises, and everyone who had American cars with big engines sold them. They were almost worthless. When I was eighteen I had 500 francs to buy a car. There was a red ’68 Camaro which cost 500 francs and which I took straight away. I fell in love.” —Sylvie Fleury

Commenting on the protagonists of Minimalism, such as Donald Judd, Robert Morris, Sol LeWitt or Carl Andre, she engages in polarities and contradictions to question the status of the artistic artifact. By letting art and fashion converge in her work, Fleury both renegotiates art’s limits and reflects on how the construction of our identity is often mediated by the commercial goods or cultural products we are drawn to.

 

Sylvie Fleury – S.F. – London

 

Frankie Goes to Hollywood, the series of monochromatic hard-edge paintings that echo Frank Stella’s works, consist of meticulously applied layers of acrylic paint mixed with small metallic specks, giving the pieces a tactile and unexpected sensual quality. Together these works explore the synonymy between objects of desire and art.

Sylvie Fleury – S.F. – London

Sylvie Fleury
Frankie Goes to Hollywood n.3, 2022
Acrylic on canvas on wood
203 × 284.5 cm
80 × 112 inches

More views
Sylvie Fleury – S.F. – London

Sylvie Fleury
Untitled, 2021
Carpet, shoes, armchair
70 × 230 × 300 cm
27 5/8 × 90 1/2 × 118 inches

More views
Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
Frankie Goes to Hollywood n.3, 2022
Acrylic on canvas on wood
203 × 284.5 cm
80 × 112 inches

Sylvie Fleury
Frankie Goes to Hollywood n.3, 2022
Acrylic on canvas on wood
203 × 284.5 cm
80 × 112 inches

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Frankie Goes to Hollywood n.3, 2022 (detail)

Sylvie Fleury
Frankie Goes to Hollywood n.3, 2022 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Frankie Goes to Hollywood n.3, 2022

Sylvie Fleury
Frankie Goes to Hollywood n.3, 2022

Sylvie Fleury – S.F. – London

Sylvie Fleury
Untitled, 2021
Carpet, shoes, armchair
70 × 230 × 300 cm
27 5/8 × 90 1/2 × 118 inches

Sylvie Fleury
Untitled, 2021
Carpet, shoes, armchair
70 × 230 × 300 cm
27 5/8 × 90 1/2 × 118 inches

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Untitled, 2021 (detail)

Sylvie Fleury
Untitled, 2021 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Untitled, 2021 (detail)

Sylvie Fleury
Untitled, 2021 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Untitled, 2021 (detail)

Sylvie Fleury
Untitled, 2021 (detail)

Details
icon_fullscreen
1 of 2

Frankie Goes to Hollywood, the series of monochromatic hard-edge paintings that echo Frank Stella’s works, consist of meticulously applied layers of acrylic paint mixed with small metallic specks, giving the pieces a tactile and unexpected sensual quality. Together these works explore the synonymy between objects of desire and art.

Sylvie Fleury – S.F. – London

 

Sylvie Fleury – S.F. – London

Sylvie Fleury
Lush Lips, 1997
Acrylic on canvas
110 × 120 cm
43 1/4 × 47 1/4 inches

More views
Sylvie Fleury – S.F. – London

Sylvie Fleury
Mascara, 1997
Acrylic on canvas
120 × 150 cm
47 1/4 × 59 inches

More views
Sylvie Fleury – S.F. – London

Sylvie Fleury
Man-Melting Massage, 2003
Acrylic on canvas
100 × 180 cm
39 3/8 × 70 7/8 inches

More views
Sylvie Fleury – S.F. – London

Sylvie Fleury
Élégance and Malice, 2023
Aluminium plates, crushed make-up
200 × 200 × 0.5 cm
78 3/4 × 78 3/4 × 1/8 inches

More views

The investigation into the creation of endless, insatiable desire is a throughline in the artist’s boundary-pushing career. Drawing from the fields of fashion, pop culture, car racing, cinema and science fiction, she has created an alluring and deceptively straightforward visual vocabulary with which she constructs surprising narratives.

Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
Lush Lips, 1997
Acrylic on canvas
110 × 120 cm
43 1/4 × 47 1/4 inches

Sylvie Fleury
Lush Lips, 1997
Acrylic on canvas
110 × 120 cm
43 1/4 × 47 1/4 inches

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Lush Lips, 1997 (detail)

Sylvie Fleury
Lush Lips, 1997 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Lush Lips, 1997 (detail)

Sylvie Fleury
Lush Lips, 1997 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Lush Lips, 1997 (detail)

Sylvie Fleury
Lush Lips, 1997 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Lush Lips, 1997 (detail)

Sylvie Fleury
Lush Lips, 1997 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Lush Lips, 1997

Sylvie Fleury
Lush Lips, 1997

Sylvie Fleury – S.F. – London

Sylvie Fleury
Mascara, 1997
Acrylic on canvas
120 × 150 cm
47 1/4 × 59 inches

Sylvie Fleury
Mascara, 1997
Acrylic on canvas
120 × 150 cm
47 1/4 × 59 inches

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Mascara, 1997 (detail)

Sylvie Fleury
Mascara, 1997 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Mascara, 1997 (detail)

Sylvie Fleury
Mascara, 1997 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Mascara, 1997 (detail)

Sylvie Fleury
Mascara, 1997 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Mascara, 1997

Sylvie Fleury
Mascara, 1997

Sylvie Fleury – S.F. – London

Sylvie Fleury
Man-Melting Massage, 2003
Acrylic on canvas
100 × 180 cm
39 3/8 × 70 7/8 inches

Sylvie Fleury
Man-Melting Massage, 2003
Acrylic on canvas
100 × 180 cm
39 3/8 × 70 7/8 inches

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Man-Melting Massage, 2003 (detail)

Sylvie Fleury
Man-Melting Massage, 2003 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Man-Melting Massage, 2003 (detail)

Sylvie Fleury
Man-Melting Massage, 2003 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Man-Melting Massage, 2003 (detail)

Sylvie Fleury
Man-Melting Massage, 2003 (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Man-Melting Massage, 2003

Sylvie Fleury
Man-Melting Massage, 2003

Sylvie Fleury – S.F. – London

Sylvie Fleury
Élégance and Malice, 2023
Aluminium plates, crushed make-up
200 × 200 × 0.5 cm
78 3/4 × 78 3/4 × 1/8 inches

Sylvie Fleury
Élégance and Malice, 2023
Aluminium plates, crushed make-up
200 × 200 × 0.5 cm
78 3/4 × 78 3/4 × 1/8 inches

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
Élégance and Malice, 2023 (detail)

Sylvie Fleury
Élégance and Malice, 2023 (detail)

Details
icon_fullscreen
1 of 4

The investigation into the creation of endless, insatiable desire is a throughline in the artist’s boundary-pushing career. Drawing from the fields of fashion, pop culture, car racing, cinema and science fiction, she has created an alluring and deceptively straightforward visual vocabulary with which she constructs surprising narratives.

“It is also part of my work that I always contradict myself because I don’t think there is one way or another, everything is always in the flux and in change.” —Sylvie Fleury

Sylvie Fleury – S.F. – London

 

Interested in paraphernalia (originally a legal term that denotes a married woman’s property besides her dowry) that is dismissed as being superficial precisely because of its female connotations, Fleury twists the implied gendered rituals and obsessions, asking audiences to think critically about the world’s design.

Sylvie Fleury – S.F. – London

Sylvie Fleury
Égoïste, 2023
Neon, white
17.6 × 100 cm
7 × 39 3/8 inches
Edition of 24 + 2 AP

Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
Égoïste, 2023
Neon, white
17.6 × 100 cm
7 × 39 3/8 inches
Edition of 24 + 2 AP

Sylvie Fleury
Égoïste, 2023
Neon, white
17.6 × 100 cm
7 × 39 3/8 inches
Edition of 24 + 2 AP

Details
icon_fullscreen
1 of 1

Interested in paraphernalia (originally a legal term that denotes a married woman’s property besides her dowry) that is dismissed as being superficial precisely because of its female connotations, Fleury twists the implied gendered rituals and obsessions, asking audiences to think critically about the world’s design.

Sylvie Fleury – S.F. – London

Sylvie Fleury
Kelly Bag (crocodile), 2013
Chromed bronze
34 × 31.5 × 11.5 cm
13 3/8 × 12 3/8 × 4 1/2 inches
Edition of 8 + 4 AP

Sylvie Fleury – S.F. – London

Sylvie Fleury
Vanity Case, 1998
Chromed bronze
31 × 38 × 21 cm
12 1/8 × 15 × 8 1/4 inches
Edition of 8 + 2 AP

Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
Kelly Bag (crocodile), 2013
Chromed bronze
34 × 31.5 × 11.5 cm
13 3/8 × 12 3/8 × 4 1/2 inches
Edition of 8 + 4 AP

Sylvie Fleury
Kelly Bag (crocodile), 2013
Chromed bronze
34 × 31.5 × 11.5 cm
13 3/8 × 12 3/8 × 4 1/2 inches
Edition of 8 + 4 AP

Sylvie Fleury – S.F. – London

Sylvie Fleury
Vanity Case, 1998
Chromed bronze
31 × 38 × 21 cm
12 1/8 × 15 × 8 1/4 inches
Edition of 8 + 2 AP

Sylvie Fleury
Vanity Case, 1998
Chromed bronze
31 × 38 × 21 cm
12 1/8 × 15 × 8 1/4 inches
Edition of 8 + 2 AP

Details
icon_fullscreen
1 of 2
Sylvie Fleury – S.F. – London

 

Sylvie Fleury – S.F. – London

Sylvie Fleury
First Spaceship On Venus (Icy Purple), 2023
Fiberglass, car paint
380 × 94 × 94 cm
149 5/8 × 37 × 37 inches

Sylvie Fleury – S.F. – London

Sylvie Fleury
First Spaceship on Venus (16 ABC), 1998
Synthetic fur, wood, styrofoam, speakers
350 × 140 × 140 cm
137 7/8 × 55 1/8 × 55 1/8 inches

Sylvie Fleury – S.F. – London

Sylvie Fleury
8 Second Street Scorchers, 2023
Digital prints mounted on Aluminium
165 × 125 cm each
65 × 49 1/8 inches each

More views

First Spaceship on Venus is a series that delves into the imagery around science fiction and outer space, questioning its machismo. Creating rockets in a range of media, Fleury satirizes their phallic symbolism by employing colors and materials associated with “femininity.”

Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
First Spaceship On Venus (Icy Purple), 2023
Fiberglass, car paint
380 × 94 × 94 cm
149 5/8 × 37 × 37 inches

Sylvie Fleury
First Spaceship On Venus (Icy Purple), 2023
Fiberglass, car paint
380 × 94 × 94 cm
149 5/8 × 37 × 37 inches

Sylvie Fleury – S.F. – London

Sylvie Fleury
First Spaceship on Venus (16 ABC), 1998
Synthetic fur, wood, styrofoam, speakers
350 × 140 × 140 cm
137 7/8 × 55 1/8 × 55 1/8 inches

Sylvie Fleury
First Spaceship on Venus (16 ABC), 1998
Synthetic fur, wood, styrofoam, speakers
350 × 140 × 140 cm
137 7/8 × 55 1/8 × 55 1/8 inches

Sylvie Fleury – S.F. – London

Sylvie Fleury
8 Second Street Scorchers, 2023
Digital prints mounted on Aluminium
165 × 125 cm each
65 × 49 1/8 inches each

Sylvie Fleury
8 Second Street Scorchers, 2023
Digital prints mounted on Aluminium
165 × 125 cm each
65 × 49 1/8 inches each

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
8 Second Street Scorchers (detail)

Sylvie Fleury
8 Second Street Scorchers (detail)

Sylvie Fleury – S.F. – London
Sylvie Fleury – S.F. – London

Sylvie Fleury
8 Second Street Scorchers (detail)

Sylvie Fleury
8 Second Street Scorchers (detail)

Details
icon_fullscreen
1 of 3

First Spaceship on Venus is a series that delves into the imagery around science fiction and outer space, questioning its machismo. Creating rockets in a range of media, Fleury satirizes their phallic symbolism by employing colors and materials associated with “femininity.”

Oscillating between fascination and distancing, sympathy and criticism, Fleury’s works leave viewers constantly re-evaluating what they are seeing. Both indulging and subverting the modes of power of consumer culture, the works scratch at the superficial to construct a complex and unique reflection on not only the art world but also present-day society.

Please find more works presented in the exhibition here.

Sylvie Fleury – S.F. – London

Sylvie Fleury
Pleasures (pink flamingo), 2022
Pink orange neon
40 × 120 cm
15 3/4 × 47 1/4 inches
Edition of 24 + 2 AP

Details
Sylvie Fleury – S.F. – London

Sylvie Fleury
Pleasures (pink flamingo), 2022
Pink orange neon
40 × 120 cm
15 3/4 × 47 1/4 inches
Edition of 24 + 2 AP

Sylvie Fleury
Pleasures (pink flamingo), 2022
Pink orange neon
40 × 120 cm
15 3/4 × 47 1/4 inches
Edition of 24 + 2 AP

Details
icon_fullscreen
1 of 1

Oscillating between fascination and distancing, sympathy and criticism, Fleury’s works leave viewers constantly re-evaluating what they are seeing. Both indulging and subverting the modes of power of consumer culture, the works scratch at the superficial to construct a complex and unique reflection on not only the art world but also present-day society.

Please find more works presented in the exhibition here.

Sylvie Fleury – S.F. – London

All installation views: Ben Westoby