Francien Krieg - Reassembled history






Studied art history at Ecole du Louvre and specialised in contemporary art for over 25 years.
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Original 3D AI print in surrealist, pop culture style, titled "Reassembled history" (2026), 30 cm high by 50 cm wide, signed by the artist, in excellent condition and sold directly from the artist, a 2020s work from the Netherlands with the theme of examining how faces and bodies are viewed across time.
Description from the seller
In the series: The Framed Gaze, Francien Krieg investigates how women's bodies and faces have been viewed, fixed, and categorized over time. Fragments of old lists — 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 plane, but becomes an object.
The faces seem framed, sometimes almost trapped. 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 around?
These women are not only objects of observation — they stand their ground, they look back. Their presence is quiet but unavoidable.
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 series: The Framed Gaze, Francien Krieg investigates how women's bodies and faces have been viewed, fixed, and categorized over time. Fragments of old lists — 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 plane, but becomes an object.
The faces seem framed, sometimes almost trapped. 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 around?
These women are not only objects of observation — they stand their ground, they look back. Their presence is quiet but unavoidable.
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.
