« Cehes decided to tackle a new medium: natural sponge. After chiseling the flesh of the écorchés in marble, she fashions the flesh of the XXIst century man, drenched unbeknown to him-self in airwaves, information and viruses, which he tries to regurgitate as he may. Hence the flesh of this new man is made of sponge, although it could be mistaken for stone. Cehes likes to toy with materials to tell us about the deceptiveness and the ambiguity of man. It is one of the constants of her work. Here, what is soft appears hard, like the marble of her first sculptures seemed to dilate and ooze like marshmallow… This sponge man, who forgot to question him-self, needs help to survive because his original blood has spoiled and turned to water. We need to water him in ourselves to irrigate him and prompt a new thought process »
FANIA PEREZ.Excerpted from an article in DIASPORIQUE magazine.2003
« In her Mutations, the artist uses materials for which she claims a symbolic potential: concrete, which has a close relationship to our times, timeless sand with which all is reborn, and glass. With what is in turn a funeral urn and a helm, the colored sand uses popular techniques. Past and future coexist, just as in the idols of the future the inclusions of pebbles into the concrete are conceived as the archaic structures of man. These sculptures transgress all academicism to reach the ever-renascent man »
LYDIA HARAMBOURG.LA GAZETTE DE DROUOT.1999
« The idols of the future, in bronze, concrete, pebbles or engraved slate establish themselves as the archeological vestige of a world to come, which has maybe already lived… They carry a founding symbolism, integral to a human being and which accompanies him though centuries. Here, Cehes addresses the transmission and mutation of mankind, in gestation of a new accomplishment. »
LEA VALENTE.JOURNAL DU PAYS D’EN-HAUT. SUISSE. 2000
