To some extent, building a Wunderkammer is a surreal exercise. The cupboard of curiosity is a kind of decoration, and in every case it is a decoration in the decoration, where the small characters play small sketches. ”
One of Urruty’s most interesting curiosity is the “Spectacle”, an incredibly detailed charcoal and graphite drawing, and nods to pay tribute to Raphael. It was originally made for the 2019 Dorothy Circus group performance mothers and children.
“Obviously, it’s a kind of Madonna, holding a little boy, surrounded by cute and creepy objects,” she said.
Both mother and her son wear animal nose masks, a feature that often appears in Uruty’s works. Behind them, the vignettes play a role in the carefully organized chaos in the cabinet. A child with adult doll and cabbage patches had a face that looked like someone, and seemed to crawl out from behind her. The chalk-style painting of the house peeks from behind a pile of dice, next to it is a skull of long hair. You can spend hours staring at the “miracle” trying to decipher all the weird scenes in it. “I want to describe a nuanced approach to pregnant women, and being in-person with love and fear is the way I do this,” Urruty explained.
“The Ghost has been my companion for several years because it can’t find a way to leave the stage. As a model, it’s the most creepy, but most academic. Referring to Renaissance curtains and all my beloved ghoulish characters.”
“I even remembered having to start “miracle” again because I wasn’t happy with the first version!” urruty recalled. Finally, it not only puts it into the group show, but also becomes the cover of the artist’s recent monograph, which was produced in the dark.
Every few years, usually when she holds a solo exhibition in Paris, urruty publishes monographs, even when people buy things during the exhibition, even if the original drawings are out of budget. “Everyone is very different,” she said. The project is often inspired by the publishers of the book. For Dark Maker (her sixth tome), a collaboration with Cernunnos, who included the book in the existing series, as well as the titles of Mark Ryden, Ron English, Marion Peck, Mu Pan, Christian Rex van Minnen, and others.
“It had to be a big book, and it was a review of my fifteen-year activities,” Urruty explained. “So I decided to organize it in the opposite way, sending them over 200 pictures and asking different people to write about my drawings and when I encountered them. It was a huge job and I was really happy.” There were some surprises when organizing the book. Urrruty’s collaboration artist Stephane Blanquet wrote a poem for her. The famous French singer Philippe Katerine responded quickly. “It really makes personal sense to me when I started to paint him physically when I showed up in shows and media,” Errutry noted.
The model – a live solo performance at the Paris Art Factory, which was due to the monograph’s release, she compiled a collection of more than fifty drawings, two of which date back to 2019 and the most between 2020 and 2023.
“As for the theme, it depends on my mood,” she said of the show. “The fact is, the portraits I want to make are more precise than before, so I can make shiny fabrics, satin and metal.”
A large piece of graphite and charcoal adorned with the same title as the show. In it, two models are laid with luxurious fabrics on them. “For me, the ideal model is covered with a piece of paper,” Urruty said. “The ghost has been my companion for years because it can’t find a way to leave the stage. As a model, this is the most creepy, but most academic. Remarks about Renaissance curtains and all my beloved terrible characters. “The covered models seemed to ignore the mess of toys and pottery around them, not to mention the cut head sitting on the table under the disco ball.
