Fanny Viollet (1944) is an Art Historian and artist. She lives and works in Paris. She has exhibited throughout Europe and in Japan.
Each of Fanny Viollet’s works could be described as an aesthetic surprise. This has characterized her artistic projects since 1980 when she gave up traditional painting methods and adopted the needle and thread as her signature tools. By introducing these two elements to the field of visual arts, the artist hoped they would offer her something new – this has repeatedly been confirmed since, such is the diversity and singularity of her works. Cross-stitch marked her debut in textile art, highlighting Fanny Viollet’s predilection for so-called feminine realms. But an avant-garde sensibility colours her connection with this ancient technique: she sees cross-stitch as the precursor of the pixel image. It continued to evolve, up until the piquetures – drawings or writings made using a sewing machine. In addition to Fanny Viollet’s technical versatility, the importance she ascribes to materials cannot be ignored. Thread is obviously essential, but the artist uses a range of recycled and usually salvaged materials. Such as in her Mouchoirs brodés series, where she embroiders on handkerchiefs picked up in the street. Serial work is another notable feature. Each series can take her from several months to several years to complete, but none have lasted as long as the Nus rhabillés – embroidered postcard reproductions of nudes in art - which she has been working on periodically since the 1990s.
Fanny Viollet displays a flamboyant body of art, where throughout her subtle positioning she constantly teases and toys with the norm.