1994
Extract from reviews
.... The boxes and compartments suggest the accumulation of sometimes simultaneous flashes that rise to the surface of consciousness.
While the artist from Vaud conjugates her pictorial language in the past tense, she punctuates it with present references, often a half-lunar, half-brazen face...
Luc Debraine, Le Nouveau Quotidien, May 2, 1993
"My basic concern is the human trajectory ...." (in "Voir" September 1992). These few words are the best possible approach to this artist's work. On the one hand, they sum up the theme that runs through her work, which is deeply rooted in a constant quest to express the human situation in contemporary society. On the other hand, these words emphasize the importance of plastic elaboration and its formal expression.
Françoise Nyffeneger, Das KunstBulletin No 6, June 1993
"The artist is a nomad who exceeds only his conscience". Graffitied on the walls of her studio in Nyonnais, this aphorism illuminates Pierrette Gonseth Favre's entire production. Her patient and secretive work is thus placed under the sign of an inner journey, and today the ArtNyon association is paying her a double tribute with an exhibition at the Château de Nyon and a monograph. Both signed Jacques Dominique Rouiller, these acts of recognition reveal a work of great formal diversity, but of perfect internal coherence... Using wood, wood pulp, resin, paper, sand, jute and color, Gonseth Favre creates both three-dimensional figures and relief paintings where, by superimposing layers, "faces appear almost magically". This process is obviously part of the dialectical opposition between inside and outside that runs through all his works. There is always something hidden beneath the visible surface of the forms. The artist only reveals an epidermis...
Pierre-André Lienhard, Journal de Genève et Gazette de Lausanne, August 20, 1994
.... Compartmentalized into window panes, altarpiece elements or hopeful interstices in the half-light, the panels evoke retro scenes (postcards, for example) or downright ancient ones (paintings by masters), whose distantly nostalgic character is heightened and enlivened by the presence of warm shades of orange or rosy red. An "indeterminate landscape" harkens back to the engraved illustrations of yesteryear, but also to the dreams of tomorrow, while masks with flourishing and abundant features borrow from the processes of Arcimboldo or the so-called raw artists. Pierrette Gonseth Favre's sincerity is reminiscent of the latter, with a distance that, while tinged with pain and regret, nonetheless breaks with the first degree.
Laurence Chauvy, Journal de Genève et Gazette de Lausanne, December 13, 1994