Francien Krieg - Framed gaze






Studied art history at Ecole du Louvre and specialised in contemporary art for over 25 years.
| €173 | ||
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| €163 |
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Framed gaze, an original surrealist portrait from 2026, created in AI and 3D print, signed by hand, measuring 40 cm by 30 cm, origin Netherlands, sold directly by the artist.
Description from the seller
In The Framed Gaze, Francien Krieg investigates how women's bodies and faces have been viewed, fixed in place, and categorized over time. Fragments of old frames — carriers of art history, status, and decoration — are combined with contemporary materials and technology. The result is a collage-like trompe-l’œil in which the image is no longer a flat surface, but an object.
The faces appear framed, sometimes almost locked in. Yet they are not passive. The frame protects as much as it confines. What was traditionally meant to elevate or to control becomes, here, a skin, an armor, a temporary shelter.
The gaze plays a central role. Who is looking? Who is being looked at? And when does that gaze turn back on itself?
These women are not only objects of observation — they stand their ground, they look back. Their presence is quiet but inescapable.
The Framed Gaze balances between vulnerability and strength, between history and the present. The work does not offer answers, but slows down the act of looking. As if the image says: stay for a little longer. Look more closely. And ask yourself what a list really does.
Seller's Story
In The Framed Gaze, Francien Krieg investigates how women's bodies and faces have been viewed, fixed in place, and categorized over time. Fragments of old frames — carriers of art history, status, and decoration — are combined with contemporary materials and technology. The result is a collage-like trompe-l’œil in which the image is no longer a flat surface, but an object.
The faces appear framed, sometimes almost locked in. Yet they are not passive. The frame protects as much as it confines. What was traditionally meant to elevate or to control becomes, here, a skin, an armor, a temporary shelter.
The gaze plays a central role. Who is looking? Who is being looked at? And when does that gaze turn back on itself?
These women are not only objects of observation — they stand their ground, they look back. Their presence is quiet but inescapable.
The Framed Gaze balances between vulnerability and strength, between history and the present. The work does not offer answers, but slows down the act of looking. As if the image says: stay for a little longer. Look more closely. And ask yourself what a list really does.
