Miriam Cahn Shifts Focus to Everyday Objects in New Paris Exhibition
Swiss artist Miriam Cahn, known for her politically charged depictions of vulnerable human figures and war conflicts, presents a significant thematic shift in her latest exhibition, 'STILL LIFE,' at the Jocelyn Wolff gallery in Paris. Moving away from expressive portraits and large-scale sculptures, Cahn now focuses exclusively on mundane everyday objects such as kitchenware, clothing, and household items. These small-format works, created with oil, pastel, or charcoal, depict items from her studio home in Stampa. The exhibition serves as a psychological exploration of the essential yet often unnoticed objects that provide stability in a fluctuating world. By highlighting items typically associated with domestic life and the female experience, Cahn subtly references the invisible presence of women and the fragility of material possession, especially in contexts of displacement and war. This collection contrasts with the overwhelming flood of violent imagery in contemporary media, offering a quiet tribute to the tangible things people hold onto. The exhibition runs until April 25, marking a distinct turning point in Cahn’s artistic career by replacing the human body with the psychology of objects.
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Miriam Cahn Shifts Focus to Everyday Objects in New Paris Exhibition
Swiss artist Miriam Cahn, known for her politically charged depictions of vulnerable human figures and war conflicts, presents a significant thematic shift in her latest exhibition, 'STILL LIFE,' at the Jocelyn Wolff gallery in Paris. Moving away from expressive portraits and large-scale sculptures, Cahn now focuses exclusively on mundane everyday objects such as kitchenware, clothing, and household items. These small-format works, created with oil, pastel, or charcoal, depict items from her studio home in Stampa. The exhibition serves as a psychological exploration of the essential yet often unnoticed objects that provide stability in a fluctuating world. By highlighting items typically associated with domestic life and the female experience, Cahn subtly references the invisible presence of women and the fragility of material possession, especially in contexts of displacement and war. This collection contrasts with the overwhelming flood of violent imagery in contemporary media, offering a quiet tribute to the tangible things people hold onto. The exhibition runs until April 25, marking a distinct turning point in Cahn’s artistic career by replacing the human body with the psychology of objects.
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