Dolce Vita installation full of humor and reflection, 2007

Is not venturing into the unknown world humanity's destiny? - Escape, 2007, 195x570x90 cm

The metaphor of duality: birth and death - Woman, 2007, 160x76x100 cm

Humanity dancing with Death - Gigolo, 2006, 200x80x80 cm. Gloria Friedmann "Bebopapocalypse" solo exhibition: on display at Serge le Borgne Gallery from November 20, 2007, to January 24, 2008. Born in 1950, Gloria Friedmann is one of the most representative artists of object-sculpture in 1990s France. She excels at mastering various familiar materials and media from daily life, creating an imaginative formal language through appropriation, transfer, alteration, and juxtaposition. Early works leaned toward everyday objects, while later ones constructed natural forms that radiated extraordinary material power. Her mixed bodies of matter-painting-sculpture exist in a metaphysical space between the concrete and abstract. In recent years, she has gradually entered a humorous human world, crafting within narrative and literary black humor, playfulness, metaphor, and allegory. Very dramatically, with strong warnings and signs of life and death, she presents baroque scenes of colorful disasters and carnival-like death festivities. This "Bebopapocalypse" solo exhibition is built upon this darkly humorous allegory, unusually displaying scenes between fear and satire, fiction and reality, amidst the terrifying high-flying dance of Death. Gloria Friedmann believes the world operates through culture and nature via symbolism and allegory. The artist states, "She hopes to grasp current life, to tirelessly participate in these issues as an artist, establishing a measure to point out the situation of the current world and society." Clearly shown in this solo exhibition is the work "Le Gigolo," where a tall man dances joyfully with Death in the form of a red-nosed clown, strongly depicting humanity parting from the world only at death. The most dramatic "Dolce Vita" is a series of colorful installations featuring six figures of Death in their prime, singing wildly with flowers blooming. Poetically, through symbolism and allegory, it metaphorizes the wonder of existence or praises the glory of death: "...the prototype of paradise, thinking of only one nature, which will no longer be nature when no one thinks anymore." The striking "Escape" series moves toward the unknown prospects of life. Expressionless white puppets step into a huge black hole with no exit, where Death welcomes these refugees, metaphorizing the cruelty of current human wars and the plight of certain populations or races. She proposes personal duality and originality woven through absurd irony. Letting the audience immerse themselves in Friedmann's clever metaphysical spiritual world, they strongly receive sensory and spiritual vibrations. Art critic William Saade wrote, "Friedmann's works equally expose the Creator's tendency of humanity towards its own destruction."