Camille Pradon — Galerie lilia ben salah
lilia ben salah gallery presents an exhibition of great subtlety by the artist Camille Pradon (born in 1993), who continues here her in depth research into the materiality of the image by orchestrating a sensitive and silent dialogue between materials.
Camille Pradon — Verticales @ lilia ben salah Gallery from December 4, 2025 to January 17, 2026. Learn more Examining voids and solids, forms and withdrawals, the artist’s work juxtaposes signs as so many discreet events punctuating a path that resembles a score of consciousness, playing at each stance like a question addressed to our perception. After a first exhibition at the gallery devoted to the surface (« Sol absolu » -Abloute Floor), Camille Pradon disrupts the plane to focus on verticality and to observe its propensity for reminiscence and its way of framing resistance.Materials, lines, colors, everything contributes, within this litany of differences, to the construction of an intriguing progression in which history, archive, fantasy, and ornamentation mingle their voices to reveal their twin relationships. With a nomenclature of sobriety bordering on trompe l’oeil objectivity, Camille Pradon disperses throughout the space elements that compose a scene of affects involving two entities, one human and the other fantastic: two ceramic sculptures (and their reminiscences as well) with very different surfaces; a fisherman and a “wreck diver,” a sea monster from Japanese folklore that attacks ships. Two figures that weave an intimate link between the surface of the water and its depths. The first exists essentially on a line; the second, more ambiguously, between the lines, as its definition brings together legends and antithetical practices, from boarding and plundering ships to looting their wrecks. At the surface, then, everything becomes blurred, like the photograph of a sea horizon topped by a massif whose base dissolves into a mist that prevents any clear distinction.
The fissures of time and environment on stone resonate with brushstroke tips poured onto sheets cascading downward; masses of material frozen by drying emerge from their supports in a mirrored movement to the flatness of photographs that themselves render reliefs and luminous perspectives. The gaze, encouraged by the exhibition path toward a sinusoidal movement, nonetheless finds itself trapped in the thorny angles of a plant entitled “Mesure,” like the mysterious witness to a vocation for verticality. Surrounded by mysteries that are so many faults leaving room for the imagination to deploy its own reading, Camille Pradon’s body of work stands out for the richness of its restraint. It inscribes its interpretation within a vertical temporality, a non linear one, based on the event driven succession of discoveries through the emergence of the visible, where looping, return, and renewal are welcome.
From this multitude of formal encounters and material paradoxes emerges a striking preeminence of discreet reliefs in space, translating the variety of biases of a perception that is here guided, through subtle touches, toward the revelation of a material, “prominent” nature of consciousness.
