Sculpture

^{_{LE QUATUOR AUX OISEAUX
THE QUARTET OF BIRDS
Corten steel, 380 x 765 x 3 cm
The sculpture has been installed at the heart of the future eco-district under construction in Mons (Belgium). It will be inaugurated in 2026}}

^{_{With the support of Atenor and the architecture cell and}}

^{_{les ateliers Melens et Dejardin, Liège}}

^{It is the story of a woman, a suitcase-woman, folded, trapped, placed in her suitcase: she will be entrusted to the gallerist, by his first name, Mathias. Here begins the journey of the Suitcase-Woman. First Brussels, her home, then Paris, the City of Light, and finally, Mexico City, where she will be proudly displayed at the Zona MACO art fair.}

///

_{C’est l’histoire d’une femme, d’une femme-valise, pliée, coincée, placée dans sa valise: elle sera confiée au galeriste, de son petit nom Mathias. Ici commence, le voyage de Femme-Valise. D’abord Brussels, son chez elle, puis, Paris la Ville Lumière et enfin, Mexico City, où elle sera fièrement exposée lors de la foire d’art Zona MAco.}

^{_{Zona MACO art fair, Mexico City, Younique Gallery}}

_{Maman, Installation, Centre d’art de Wallonie, Flémalle}

_{^{Based on the work of Antoine Wiertz, La Belle Rosine (1865), Photography, 52×40 cm, edition of 12 copies
Photographe: Nathalie Amand}}

^{_{Chaise bourgeoise, Chair, Shoes, 100x50x50 cm}}

^{_{Femme porte un bec, 2015, Installation and drawing, hangers, clothes, variable dimensions, L’ISELP, Brussels}}

Un joli nom d’oiseau

Des ailes ! des ailes ! pour voler

Par montagne et par vallée

Friedrich Ruckert

Un joli nom d’oiseau Version française

…

Without revealing it, this bird’s name takes on various forms. Drawing from the ontological or zoological repertoire in a broad sense, Priscilla Beccari’s work becomes zoomorphic. It hybridizes and transforms, shifting from the line of the drawing to the volume of a flock of hangers-starlings in full ascent.

A symbol reserve since the dawn of time, the bird is associated with flight, as well as with fall or confinement. At times masculine and voracious with its hooked beak, it also connects with the feminine, the intimacy of a home, of a « nest » built with love and foresight.

This duality is transcended, and the idea of freedom it embodies comes into focus. It frees itself from all weight and escapes all earthly miseries, far from the daily toils often represented by the artist. This aerial passage evokes a rebirth that materializes in the exhibition space. The shell of childhood breaks, allowing maturity to unfold. Between the transition from childhood to the maternal action of spreading wings, there lies the natural, non-prideful tendency of every being to want to resemble the great mother, to be made in her image, to participate in the tireless wings with which eternal love nurtures the world.

Multiple echoes blend and strengthen each other, providing us with a sense of strangeness. Half-enslaved in her cage, a faceless woman entwines herself in a selfish love that resonates in the large drawings of a simplified habitat. Referring to the anonymity of a precarious situation, this space is inhabited by a being with an oversized beak-nose, hindering all movement. This tension is emphasized by the technique used—quickly cut and varnished paper, which reinforces its materiality and fragility, evoking the tone of crumbling walls. Far from the polychromes, the iridescence, and the melodious songs of birds, Priscilla Beccari transports us into a work with feminist claims tinged with gentle melancholy. The artist slips a hint of eroticism into a childhood marked by tales that bring man closer to the animal. Her universe is akin to the figures of Kiki Smith or the installations of Annette Messager, subtly blending naivety and gravity.

Catherine Henkinet

^{La courbure de l’horizon, 2022, Flag, 150×200 cm, Digital print}

^{_{Corps à coeur, 2022, Domestic furniture, Belgian Gallery, Brussels}}

^{The Basket of Plums
At first glance, it appears to be a simple wicker basket, filled with small, mauve shapes reminiscent of ripe late summer plums. Their roundness, their soft and velvety hue evoke a familiar, almost indulgent sensation. As one approaches, the eye discovers what was not immediately apparent: each fruit is a subtle, sensual, and unsettling evocation of female intimacy. Between still life and discreet provocation, The Basket of Plums plays with illusion, desire, and gaze. It questions the way we consume forms, bodies, and symbols—without always truly seeing them.}

///

^{Le panier de prunes}

^{À première vue, un simple panier en osier, garni de petites formes mauves rappelant les prunes mûres de fin d’été. Leur rondeur, leur teinte douce et veloutée éveillent une sensation familière, presque gourmande. Mais en s’approchant, le regard découvre ce que l’œil distrait n’avait pas saisi : chaque fruit est une évocation subtile, sensuelle et troublante de l’intimité féminine. Entre nature morte et provocation discrète, Le Panier de prunes joue de l’illusion, du désir et du regard. Il interroge la manière dont nous consommons les formes, les corps et les symboles – sans toujours les voir vraiment.}

^{_{Prendre de la hauteur, 2013-…, Photography, Techniques and variable dimensions, Collection-series}}

^{_{Le banquet, Performance, Academia Romania, Rome}}