BP 艺术家丨伊夫·舍雷尔 Yves Scherer

伊夫·舍雷尔，1987年出生于瑞士，现居纽约。毕业于伦敦皇家艺术学院雕塑专业，他的作品曾在世界范围内的艺术机构广泛展出，舍雷尔曾获2015年瑞士艺术大奖，以及德国文化局董事会和IAAB北京旅行基金会艺术奖金。

舍雷尔的作品始终探索着现实与虚拟世界的边缘。在他看来，生活本身就是一个幻想游戏：人们在公众视野中的言行举止，试图经营的形象与人设，名人与大众之间相互影响与控制的关系...他试图用一种更加身临其境的方式去表达这种人与环境关系的浪漫与互动。他的创作往往来自真实的社会新闻和事件，性别认同、生活体验、好莱坞文化、公众媒体都是他热衷的话题，同时都一点点模糊着虚拟与真实的界限。因此，他常常通过作品中的视觉陷阱来定位和重现生活中的幻象: 通过拼接融合材料与质地、平面与立体空间、自然与数字来呈现他对于生活和虚拟文化的理解与质疑。伊夫·舍雷尔设法避免陷入涉及流行流派广泛含义的琐碎化，将其置于反思和调查的中心，在虚拟与现实之间观察社会关系的紧张感。

舍雷尔的创作媒介丰富多元，包括绘画、摄影、超现实雕塑和装置。他以创作传统摄影与数字成像拼贴而成的二维作品起步，逐渐转向更多简单和未经加工的材料。对于木、草、布、人造皮草等材料的实验性运用使他成为当代贫穷艺术的代表人物之一，以传统雕塑表现虚拟文化的手法亦是舍雷尔的重要标志。

Yves Scherer was born in Switzerland in 1987 and now lives in New York. Graduated from the Royal Academy of Arts in London, majoring in sculpture, his works have been widely exhibited in art institutions around the world. Scherer has won the 2015 Swiss Art Award, as well as the German Cultural Agency Board of Directors and the IAAB Beijing Travel Foundation Art Award.

Scherer's works always explore the edges between the real and the virtual worlds. For him, life itself is a fantasy game: the way people behave in public, the images and persona they inted to have, and the reciprocal influences between celebrities and the general public... He tries to express those romantic and interactive relationships in a more immersive way. His creations often come from social news and real events. Gender identities, life experiences, Hollywood culture, and public media are all topics that he is passionate about, as they are gradually blurring the boundaries between the virtual and the real words. Therefore, in his works, he often locates and reproduces the illusions in life through visual traps: splicing and fusing materials and textures, combining two-dimensional and three-dimensional spaces, mixing nature and numbers, to present his understandings and questionings on life and virtual culture.Yves Scherer manages to avoid the trivialization that involves a broad implications on popular genre, instead, he puts it at the center of reflection and investigation, explores the tension of social relationship between the virtual and the real worlds.  

Scherer employs a diverse media for creation including painting, photography, sculpture and installation. He started creating mostly two-dimensional works such as traditional photography and digital imaging collage, while gradually shifting to use more simple and unprocessed materials. His use of wood, grass, cloth, artificial fur and other experimental materials make him a star of the contemporary arte povera. The way of expressing virtual culture with traditional sculpture is also an important symbol of Scherer's.  

教育背景

2012-2014

皇家艺术学院，伦敦，文硕士，雕塑

2007-2011

卢塞恩大学，巴塞尔和柏林，文学士，文化科学

个展

2023

普罗旺斯，M.LeBlanc, 芝加哥，美国

纽约时刻，Golsa，奥斯陆，挪威

网球肘，The Journal Gallery，纽约，美国

2022

晚安月亮，The Journal Gallery，帕特摩斯，希腊

网球肘，The Journal Gallery，纽约，美国

2021

家庭时光，Galerie Guido W. Baudach，柏林，德国

在你身边，Cassina Projects，米兰，意大利

2020

Candids，格伦兴美术馆，格伦兴，瑞士

草叶，Golsa，奥斯陆，挪威

2019

再睡一觉，Studio Hugo Opdal，奥勒松，挪威

Les Bains Douches, Basement Roma, 罗马，意大利

男孩，Galerie Guido W. Baudach，柏林，德国

日落，Kunstverein Wiesen，维森，德国

2018

最后的英国玫瑰，肯尼迪沙龙，法兰克福，德国

亚当和夏娃，Golsa，奥斯陆，挪威

最后的英国玫瑰，Più画廊，博洛尼亚，意大利

Primal，Cassina Projects，纽约，美国

2017

她那个时代最聪明的女巫，Studio Hugo Opdal,佛洛，挪威

一千年，Towards，多伦多，加拿大

一个更大的水花，Lyles&King，纽约，美国

2016 

单身，Galerie Guido W. Baudach，柏林，德国

我们的生活，Rod Bianco，奥斯陆，挪威

白雪公主与猎人（由 joségarcía，mx 与 Attilia Fattori Franchini 合作呈现）Casa Pedregal，墨西哥城，墨西哥

2015

夫妻，Studiolo，米兰，意大利

恋爱的小鸟，mvprojekte，科隆，德国

蜜月，瑞士研究所，纽约，美国

爱在哪里，ExoExo，巴黎，法国

名利场，法兰克福，德国

海上的日子，Carl Kostyal，伦敦，英国

2014

亲近，Galerie Guido W. Baudach，柏林，德国

康尼岛，SALTS，巴塞尔，瑞士

2013

SKYLINE，SSZ-Sued，科隆，德国

部分群展

2023

是的，我们复制!1970年以来艺术模仿的策略, 索洛图恩美术馆, 索洛图恩，德国

护理包, Blue Velvet Projects，苏黎世，瑞士

2022

农场生活，Golsa，奥斯陆，挪威

战栗，The Shophouse，香港，中国

Ce Qui Emporte La Décision, Ceysson & Bénétière，巴黎，法国

奥斯特韦克的艺术，跟我说话，奥斯特韦克，荷兰

如何（不）适应——青春期的隐喻，默克尔别墅，埃斯林根，德国

速度与激情，创作者之港，土伦，法国

路易莎·加利亚尔迪，伊夫·舍雷尔，Eva Presenhuber，纽约，美国

2022 年瑞士艺术奖，巴塞尔，瑞士

2021

真正的浪漫，海岸画廊，维也纳，奥地利

群展，M. LeBlanc，芝加哥，美国

2020

面孔和名字，Guido W. Baudach 画廊，柏林，德国

银河，Franco Noero Galleria，都灵，意大利

美学与后果，Più画廊，博洛尼亚，意大利

女巫、幼崽和追梦人，BROWNIE Project，上海，中国

2017

马库斯·赛尔格，伊夫·舍雷尔，SVIT，布拉格，捷克

艺博会

2023

巴塞尔艺术博览会，Peres Projects 

NOMAD，GUCCI

2020

墨西哥当代艺术博览会, Cassina Projects

2019

达拉斯艺术博览会, Cassina Projects

墨西哥当代艺术博览会, Cassina Projects

2018

CHART艺术博览会, Golsa

2017

CHART艺术博览会, Golsa & Rod Bianco

2015

巴塞尔迈阿密艺术博览会, Galerie Guido W. Baudach

相关著作

2023

STUDIO杂志#6封面3：伊夫·舍雷尔为 GUCCI, Imagine, 限量版（300张，编号和签名）。

2020

伊夫·舍雷尔, 《草叶》，Galleri Golsa和Heavy Books

伊夫·舍雷尔, 《Soft Pop》, Galleri Golsa, Cassina Projects 和 Galerie Guido W. Baudach

Education

2012-2014

MA Sculpture, Royal College of Art London

2007-2011

BA Sciences of Culture, Lucerne University, Basel and Berlin

Solo Exhibitions

2023

Provence, M.LeBlanc, Chicago, US

New York Minute, Golsa, Oslo, Norway

Tennis Elbow, The Journal Gallery, New York, US

2022

Goodnight Moon, The Journal Gallery, Patmos, Greece

Tennis Elbow, The Journal Gallery, New York, US

2021

Family Time, Galerie Guido W. Baudach, Berlin, Germany

By Your Side, Cassina Projects, Milano, Italy

2020

Candids, Kunsthaus Grenchen, Grenchen, Switzerland

Leaves of Grass, Golsa, Oslo, Norway

2019

One More Sleep, Studio Hugo Opdal, Alesund, Norway

Les Bains Douches, Basement Roma, Rome, Italy

Boys, Galerie Guido W. Baudach, Berlin, Germany

Sunset, Kunstverein Wiesen, Wiesen, Germany

2018

Last of the English Roses, Salon Kennedy, Frankfurt, Germany

Adam & Eve, Golsa, Oslo, Norway

The Last of The English Roses, Galleria Più, Bologna, Italy

Primal, Cassina Projects, New York, US

2017

The Brightest Witch of Her Age, Studio Hugo Opdal, Flo, Norway

A Thousand Years, Towards, Toronto, Canada

A Bigger Splash, Lyles & King, New York, US

2016

Single, Galerie Guido W. Baudach, Berlin, Germany

Our Life, Rod Bianco, Oslo, Norway

Snow White and the Huntsman (presented by joségarcía, mx in collaboration with Attilia Fattori Franchini) Casa Pedregal, Mexico City, Mexico

2015

Couples, Studiolo, Milan, Italy

Lovebirds, mvprojekte, Cologne, Germany

Honey Moon, Swiss Institute, New York, US

Where Is the Love, ExoExo, Paris, France

Vanity Fair, Frankfurt, Germany

Days at Sea, Carl Kostyal, London, UK

2014

Closer, Galerie Guido W. Baudach, Berlin, Germany

Coney Island, SALTS, Basel, Switzerland

2013

SKYLINE, SSZ-Sued, Cologne, Germany

Selected Group Exhibitions

2023

Ja, wir kopieren!Strategien der Nachahmung in der Kunst seit 1970, Kunstmuseum Solothurn, Solothurn, Germany

Care Package, Blue Velvet Projects, Zurich, Switzerland

2022

Farm Life, Golsa, Oslo, Norway

Grue, The Shophouse, Hong Kong, China

Ce Qui Emporte La Décision, Ceysson & Bénétière, Paris, France 

Art in Oisterwijk, Talk to me, Oisterwijk, Netherlands

How (Not) to Fit In – Metaphern der Adoleszenz, Villa Merkel, Esslingen, Germany

Rapide et Furieux, Le Port des Créateurs, Toulon, France

Louisa Gagliardi, Yves Scherer, Eva Presenhuber, New York, US

Swiss Art Award 2022, Basel, Switzerland

2021

Group Exhibition, M. LeBlanc, Chicago

2020

Faces and Names, Galerie Guido W. Baudach, Berlin, Germany

The Milky Way, Galleria Franco Noero, Turin, Italy

Estetica con conseguenze, Galleria Più, Bologna, Italy

Witch, Cub and Dream Hunter, Brownie Project, Shanghai, China

2017

Markus Selg, Yves Scherer, SVIT, Prague, Czech Republic

Art Fairs

2023

Art Basel, Peres Projects 

NOMAD, GUCCI 

2020

ZONAMACO, Cassina Projects

2019

Dallas Art Fair, Cassina Projects

ZONAMACO, Cassina Projects

2018

Chart Art Fair, Golsa

2017

Chart Art Fair, Golsa & Rod Bianco

2015

Art Basel in Miami Beach, Galerie Guido W. Baudach

Publications

2023

STUDIO Magazine #6 COVER 3: Yves Scherer for GUCCI, Imagine, Limited Edition (300, Number and signed)

2020

Yves Scherer, ‘Leaves of Grass’, Galleri Golsa and Heavy Books

Yves Scherer, ‘Soft Pop’, Galleri Golsa, Cassina Projects and Galerie Guido W. Baudach

舍雷尔被选为《流动中的艺术家——GUCCI推动的特别项目》中的三位参展艺术家之一，携GUCCI行李箱前往圣莫里茨，参与圆桌会议，深入讨论作品及其背后的创作过程，项目结果于GUCCI官网发布。在此期间，他的雕塑作品《男孩》（2019）受邀于圣莫里茨举办的相关展览中展出。作品展示了舍雷尔将个人生活和情感的观念与名人和大众文化的观念并置的独特模式，艺术家从不同的背景和独特的影像中汲取灵感，在转瞬即逝的动作中展示了孩童的无忧快乐。《男孩》（2019）同系列的雕塑作品《如果伊夫做了苹果汁会怎样》（2021）于2023年巴塞尔艺术展上展出。‍‍‍‍‍‍‍‍‍‍‍

Scherer has been selected as one of three artists to be featured in ‘Artists in Flux - A Special Project Powered by Gucci’. He travels to St.Moritz with his GUCCI luggage, joined the round table conversation for a discussion on works and the process of creation. The resulting materials will be published on GUCCI's site. Meanwhile Scherer's sculpture ‘Boy’(2019) is invited to be a part of a separate exhibition in association with NOMAD 2023 at St. Moritz. Scherer’s works examplify his singular mode of juxtaposing the ideas about personal life and emotion and those of celebrity and mass culture. Drawing inspiration from diverse backgrounds and distinctive influences, Scherer explores the emotional and aesthetic resonances and connections between human and nature, presenting a fleeting moment that freezes the joyfulness of childhood. Another sculpture ‘What if Yves Made Apple Juice’(2021), from the same series as 'Boy'(2019), is presented at Art Basel 2023. 

在雕塑和透镜系列作品中，不同的现实被模糊成一体。简单的主体被复杂性环绕，又被狂热的欲望包裹。随着观众对“描绘”这一概念的再认识，他们在生理与文化意义层面的感知被逐一质疑、摧毁。这件作品在尺寸与呈现方式上是宏伟的，所触发的感觉却是亲密且几乎异想天开的。多色铝、3D透镜、不锈钢和数码打印作为各种主题的主体并存。它们触及了爱和灵性，性与幻想，个人史与名流。大方向是接地气并富有人情味，而那些细致的部分则通向永恒。

In both sculpturals and lenticular works, different realities are blurred to be presented as one. Complexity orbits simplicity, encapsulated by avid desire. Perception, both biological and cultural, is questioned and dismantled as viewers reevaluate notions of depiction itself. The work is grand in both scale and means, but intimate and almost whimsical when it comes to the feeling it evokes. Polychrome aluminum, 3D-lenticulars, stainless steel, and digital printing coexist as hosts to a gamut of subjects. They touch upon love and the spiritual, from sex to fantasy and from personal history to celebrity. The big themes are grounded and made more human, while those considered trivial reach towards the eternal.

在这场流行病肆虐期间，舍雷尔打造了一种新的绘画方法。他过去曾创作过许多大型喷绘作品，而这批新作品则是从具有悠久历史文化底蕴的瑞士风景画家那里获得灵感的，例如阿道夫·迪特里希或汉斯·埃梅内格等，这些作品点缀了艺术家在瑞士索洛图恩州的早期生活。大片横向的混杂的绿色、橙色和黄色，被单束的罂粟和牡丹分隔开，每件作品都代表了回忆的难以捉摸。就像在普罗旺斯展出的所有作品一样，舍雷尔关注的是诞生和“自在”、不断重复的理想之美和自我的构建之间的多价交集。

In the midst of the pandemic, Scherer forged a new approach to his painting. Where he had made numerous large airbrush works in the past, this new body of work draws inspiration from historic Swiss landscape painters like Adolf Dietrich or Hans Emmenegger, whose works dot the artist's early life in the Swiss canton of Solothurn. Large horizontal swaths of muddled green, orange, and yellow, are sparsely separated by lone sets of poppies and peonies, each work representative of the elusiveness of recollection. Like all the work exhibited in Provence, at stake for Scherer is a multivalent intersection between nativity or ‘being at home’, the ever-malleable ideals of beauty, and the construction of oneself.

《纽约的雨天》(2023年)是一个铜制的雕塑，由一个真人大小的女孩和一个小小的带蝴蝶翅膀的男孩构成。蝴蝶男孩像一个装饰物一样栖息在女孩的头上，他的目光紧盯着远方的地平线。女孩微微低着头往下看，仿佛在向前迈步的瞬间凝固。她披着一件长长的袍子，恰好地体现出了她的动势，她在做白日梦，或者刚好被一个她所感兴趣的事物所吸引。她对小男孩——她安静的知己不为所动，也没有被我们目光所影响。在我们面前的是一个漫步的时刻，一个孩子渴望探索的时刻——就像一个性别转换版的彼得·潘和丁卡·贝尔，女孩和男孩正处于一个转瞬即逝的时刻，齐心协力地前进。

Rainy Day in New York (2023), a patinated bronze sculpture of a life-sized girl and a tiny wing-adorned boy. Perched up on the girl's head like an ornament, the butterfly boy has his gaze fixed on the horizon. The girl, with her head bowed ever so slightly, seemingly looking down, is in mid-motion, as if frozen in movement, stepping forward. Draped in a long garment that emphasizes her action, she is daydreaming or set on a particularly captivating point of interest. Her predicament leaves her unmoved by the presence of the boy, her quiet confidant, and unaffected by our gaze. Before us is a moment of saunter, of childlike thirst for exploration - like a gender-bent Peter Pan and Tinker Bell, the girl and the boy are at the center of a fleeting moment, moving in unison. 

舍雷尔在雕塑《纽约时刻》（2023）中重新审视了两个人物之间的共生关系。出于对二元性的反思，这些被描绘成特殊统一体的人物也被置于对比之中。与舍雷尔的雕塑作品中经常出现的现实主义特征不同，狗和鸟被塑造成了更加抽象的形式，它们融为了一体。青铜材质的持久性创造出的坚实和永恒进一步印证了二者的关系，这与作品所呈现的短暂瞬间形成对比。这两对组合相互关系似乎是舍雷尔继续探索的新模式：人物之间的私人和公共关系，以及这些人物与他们所处的环境之间的关系。

Scherer revisits the symbiotic relationship between two characters in the sculpture New York Minute (2023). In a reflection on duality, these characters are simultaneously placed in contrast and portrayed in a particular sort of unison. Away from the realism that is found in his sculptures, Scherer shapes the dog and the bird in abstract forms, rendering them one entity. The permanence of bronze further seals their relationship, creating a sense of solidity and perpetuity that contrasts the fleeting nature of time. These are new mode of relationships that Scherer seems to explore: the personal and the public relationships among his characters, as well as the relationships between those characters and their surroundings. 

舍雷尔用通过窗户看到月亮的九窗格构图强调了这组作品画面的连贯性。这些绘画作品平衡了对斯坦利·惠特尼或肖恩·斯库利（带有月亮或窗外景色的代表性画作）等抽象画家形式上的追忆，此类画面在几个世纪以来一直是一个反复出现的图象——从皮埃尔·博纳尔到安妮·克雷文。

Featuring an image of the moon seen through a window, Scherer highlights a sense of consistency in composition  with a structure of nine window panels. The works balance a pursue in forms that is reminiscent of those abstract painters such as Stanley Whitney or Sean Scully who depicted moon or windowside view. These are recurring images for centuries -- from  Pierre Bonnard to Anne Craven. 

伊夫·舍雷尔在他的画作中探索了被捕捉到的隐密瞬间。他通过视觉上的多重性、丰富的色彩和有力的笔触来阐述这些节奏，反映了童年、新开始和生命之花的活力。舍雷尔用同种色系的不同色调来绘制这些场景——多数情况下是橙色，加上蓝色、绿色和黄色，他的作品强调对绘画语言进行反思，专注对单一时刻深入探索，是一种平静的艺术实践。舍雷尔邀请我们体验的不是围绕某种主题进行的色彩组合作品（就像阿尔贝斯对正方形的探索中发现的那样）而是一种特定的色彩方案，这种用色方案在每件作品中只在色度、色调和明暗度上有非常微妙的变化。

In his paintings, Yves Scherer explores the intimacy of a moment caught in time. He elaborates on these beats through visual multiplicity, rich colors, and vigorous brushstrokes, reflecting on childhood, new beginnings, and the vibrancy of blossoming life. Painting the scenes in various shades of a single color - orange in most cases, peppered with blue, green, and yellow outliers, Scherer highlights the reflective properties of his expression, a focus on the deep exploration of a singular moment, a calming exercise. What Scherer invites us to experience here is not a seriality that explores the combination of colors around a specific subject, as we can find in Albers' exploration of the square, but a particular color scheme that the artist varies only very slightly within hues, tones, and shades in each work.

Lenticular works allow Scherer to explore divergent realities - those of fame and celebrity juxtaposed with intimate, private moments that signal emotional, even romantic connections. A unique feature that comes into play with these works is that our movement around them triggers a new perspective in incremental ways - the subtle shifts and changes of light create a sense of direction and depth. Thus, these pieces are compelling in their ability to capture the fleeting, ephemeral quality of human experience, reminding us of how our lives are shaped by our very surroundings, as well as subtle shifts in interactions and moments that we often take for granted.

《小美人鱼》灵感来源于性别平权主义女演员艾玛·沃特森。沃特森是舍雷尔作品中反复出现的角色，作为性别平等的倡导者，她在作品中被描绘成了一个雌雄同体的领袖人物，同时作为男性的幻想出现。

Little Mermaid inspired by actress and female activist, Emma Watson. Watson, a recurring subject of his work, is an advocate for gender equality and is portrayed here as both an androgynous commanding figure and a male fantasy at the same time. 

一个比真人更大的小男孩站在那里，他弯着腰，全神贯注地摘花。他穿着配有老式背带的现代慢跑裤，脸上带着沉思的微笑。男孩的形象由计算机软件设计生成，用铝铸造，就像霍德勒（Ferdinand Hodler）画作中的人物一样。他的身体、衣服和捧花都被刻画得十分精致，很容易被当作珐琅或瓷器人物。但与通常圆滑光亮的装饰工艺品不同，《樱桃树》看起来是哑光且锋利的，仿佛是用金属雕刻出来的。

There is a bigger-than-normal-sized boy dressed in an outfit combining old-fashioned suspenders with modern jogging pants. He bent over, engrossed in picking flowers, a pensive smile on his face. The boy is designed by computer programs, cast in aluminum, just like the characters in Hodler’s paintings. The body, clothes and flowers were all exquisitely painted. Most people might assume a reference to traditional enamel or porcelain figures. However, unlike those round decorative crafts with shiny surfaces, everything here is matte and sharp-edged, which seems as if it is carved out of metal.

这件被人抚摸的小猫雕塑再现了当代互联网上对猫的迷恋，近年来，这种迷恋充斥了社交媒体：从Instagram、TikTok，到Facebook和WhatsApp。这些可能会引起人类什么情绪？猫很可爱，我们都会屈服于可爱的力量。舍雷尔利用可爱来创造天真的图像，间接地处理生活中不可避免的不确定性，在图像带来的自然而然的安全感中找到即时的安慰，如被驯养的宠物和它的主人之间的忠诚关系。宠物主人和他们的宠物之间的爱与消费文化联系在一起，在购买商品以及满足需求之间，蕴含着给予爱和接受爱的满足感，一种被期待的回应。

Scherer's sculpture of a cat being petted by a human hand confronts the viewer with the contemporary internet fetishization of cats that, in recent years, has invaded social media - from Instagram and TikTok, to Facebook and WhatsApp. What emotions might these memes instigate in humans? Cats are cute, and we all bend to the power of cuteness. Yves Scherer uses cuteness to create candid images that indirectly address the ineliminable uncertainty of life, which finds immediate comfort in images of inevitable safety, like the loyal relationship between a domesticated pet and its owner. The love between a pet owner and their pet connects to the consumer culture. The gratification that comes from giving but also receiving love back as a form of expected response is embedded in the connection between buying a good to fulfill a specific need.

这是一件关于 “填补需求” 的作品，一幅几乎是单色调的橙色画作 ——《我所需要的一切》（2022年）。有着细微差别的橙色组合在一起，看起来就像湿毛巾上的水痕一样。这个题目暗示了想舒适地消失在一个色域中的愿望，不过这似乎是不现实。

Scherer addresses that same need to fill in the void with another work, this time an almost monochromatic orange painting, All I Need (2022), a combination of nuances of orange color appearing almost as a mark on a wet towel. The title seems to address a desire for a comfortable disappearance within a field of color in something that seems to be that which is not.

光栅印刷作品《12月的花》（Flowers in December）（2020）由三张刊登在2019年12月《British Vogue》封面的艾玛·沃森（Emma Watson）照片组成，这位英国女演员11岁在《波利·波特》（Harry Potter）系列电影中饰演主人公赫敏·格兰杰（Hermione Granger）成为全球明星，是业内收入最高的女演员之一。她同时担任联合国亲善大使，坚持宣扬时装产业的可持续性和公平化生产，是为数不多没有负面新闻的明星。

从童星到受人敬仰的女演员，再加上她的政治和社会地位，艾玛·沃森成为世界上最成功的女性之一，也成为了流行文化的标志。基于人们真切仰望当代社会媒体中的明星形象这一心理，舍雷尔在作品《12月的花》（Flowers in December）中汲取并处理传统肖像学元素。不同阶段的《Vogue》封面照片的合成类似东正教的传统圣像崇拜，将图像转变成一种悖论。同时，舍雷尔把三幅人像叠加出一种梦境或海市蜃楼的画面感，反应社会媒体将 “真像”进行转换的行为。因此随着观看角度的不同，观者在同一时间只能看到一个或多个画面——这种视觉差同时存在于图标、图像与偶像层面。

The lenticular print "Flowers in December" (2020) consists of three cover photos of the "British Vogue" from December 2019, for which Emma Watson was the model. The British actress became a worldwide star as "Hermione Granger" in the film versions of "Harry Potter" at the age of 11. Watson is now considered one of the highest-paid actresses in the industry, a UN special ambassador for women's rights and equality, as well as an advocate for sustainable and fairly produced fashion. She is one of the few stars to pursue her career without scandal or downfall. 

Her career from child star to admired actress coupled with her political and social commitment makes Emma Watson a pop cultural icon. In Scherer's lenticular print "Flowers in December", he draws on the pictorial tradition of the icon, but turns this type of image into a paradox. By reproducing the staged cover photos of "Vogue", the print functions like a traditional cult image of the Orthodox Church. At the same time, by superimposing three portraits into a kind of dream or mirage image,  Scherer responds to the transformation of the "true image" by social media. The lenticular print, in which only one or several images are visible at the same time, depending on the viewer's point of view, is thus both an icon and an idol.

雕塑 《文森特》（Vincent）（2018）展示的人物形象为法国演员文森特·卡塞尔（Vincent Cassel）（1966），他在爱德华·德鲁克（Edouard Delucs）的同名电影中饰演保罗·高更（Paul Gaugin）（2017），并因为奥斯卡获奖芭蕾舞剧《黑天鹅》（Black Swan）（2010）成名。在剧中，他与娜塔莉·波特曼（Natalie Portman）和薇诺娜·莱德（Winona Ryder）一起饰演芭蕾舞老师。作为巴黎城郊的粗旷感与法国风情魅力完美结合的代表人物，卡塞尔在1999-2013年与女演员莫妮卡·贝鲁奇（Monica Bellucci）结婚生活期间，公众也对他的私生活产生了兴趣。对此，舍雷尔将他在名为《只是贾里德》（Just Jared）的名人新闻和八卦网站上的照片作为雕塑作品的参考来源。

照片中，演员戴着墨镜，穿着泳裤、鞋子，手里拿着一条毛巾走下海滩，显然沉浸在这一私人时刻中的卡塞尔对狗仔队的存在浑然不觉。而舍雷尔对该图像进行了立体渲染，将文森特·卡塞尔转化成一件雕塑，以此把人物带入现实。一比一还原的体型带来的真实感让观者印象深刻，而轻浮的色彩又与之产生矛盾，打破了人们心中对于真实形象的认知。粉红色似乎象征着明星们的闪耀世界，也同样是 Instagram 上人们所享受快乐并沉迷妄想的虚幻世界的缩影。

The sculpture "Vincent" (2018) shows the French actor Vincent Cassel (*1966). He is famous for his role as "Paul Gaugin" (2017) in Edouard Deluc's film of the same name and for the Oscar-winning ballet drama "Black Swan" (2010), in which he played a ballet teacher with Natalie Portman and Winona Ryder. As an ideal figure, Cassel mixes French charm with the tough from the Parisian banlieu. However, since he married to actress Monica Bellucci, with whom he has lived from 1999 to 2013, the public has also taken an interest in his private life. Scherer used a photo from the website "Just Jared", which posts celebrities' news and gossip, as the image source for the sculpture. Walking on the beach, wearing sunglasses, swimming trunks, with a pair of shoes and a towel in his hands... It seems that Cassel didn't know his private moment was taken by the paparazzo. 

By transforming Vincent Cassel into a sculpture through "rendering" based on the picture, Scherer brings the depicted person into reality. The realistic representation of body size and proportions is impressive, which is, however, broken again by the arbitrary colour. Pink colour seems to refer to the glittering world of the stars and the artificiality of Instagram reality - an ideal world in which people have fun in life, but often portray it as more colourful and sugary than it really is.

《原生之美》（Native Beauty)（2020）沿用了与《文森特》（Vincent）相似的手法。艺术家利用“挪用艺术”的手法，把1997年法国模特卡斯塔（Laetitia Casta）在 "Koriska" 度假时的照片挪用到展览中。艺术家们曾通过美学材料质疑艺术世界的基本分类原则，舍雷尔则在他对名人文化现象的关注中挪用了这张照片。

"Native Beauty" (2020) captures a private moment as well. It is a vintage photograph of the French model Laetitia Casta during her holidays on Koriskataken, taken by a paparazzo in 1997. Yves Scherer treated it as a kind of ready-made. In the tradition of Appropriation Art, artists use found objects to query fundamental categories of the art world, Scherer appropriated this photograph in the context of his preoccupation with the phenomenon of celebrity culture.

作品《莱戈拉斯》（Legolas）（2018）中的形象是《指环王》（Lord of the Rings）中精灵王瑟兰·督伊（Elbenkönigs Thranduil）的儿子，他也是展览中唯一一个虚构人物。

The figure in the work Legolas (2018) is from The Lord of the Rings, he isthe son of the Elven King Elbenkönigs Thranduil and he is the only fictional character in the exhibition.

木质浮雕 《约翰尼与凯特》（Johnny & Kate）（2019）根据美国摄影师安妮·莱博维茨 (Annie Leibovitz) 的著名摄影作品所创作，这对情侣在1994年至1998年间被公认为好莱坞最神秘的梦中情侣，安妮·莱博维茨成功拍摄到1994年约翰尼和凯特在纽约的一家酒店房间里的亲密时刻。

The wooden work "Johnny & Kate" (2019) is based on a photograph by the famous American photographer Annie Leibovitz. It shows Johnny Depp and Kate Moss in a hotel room in New York in 1994. The couple were in a relationship from 1994 to 1998, were considered Hollywood's most secretive dream couple.

在《男孩与树》（Boy with Tree）（2020）中，舍雷尔用视频展示了自己四岁时的样子。影片中的他赤裸裸地站在家人面前，试图抓住一个挂在天花板上的气球，这个男孩伸手去触碰遥不可及的物体的形态诗意化了成长这一主题。

For "Boy with tree" (2020), he used a video showing him at the age of four. In the film, he stands naked in front of his family and tries to grab a balloon hanging from the ceiling. The boy stretching to an object that is out of his reach can be read as a poetic image for the theme of growing up. 

STUDIO杂志#6封面3：伊夫·舍雷尔为 GUCCI, Imagine, 限量版（300张，编号和签名）。本书为舍雷尔与GUCCI合作为Studio杂志制作的光栅印刷封面，2023年出版。

STUDIO Magazine #6 COVER 3: Yves Scherer for GUCCI, Imagine, Limited Edition (300, Number and signed). This Scherer’s creation of a lenticular cover for the Studio magazine in collaboration with GUCCI and published in 2023. 

《草叶》是舍雷尔为Golsa同名展览出版的著作，标题引用了沃尔特·惠特曼的著名诗集，作者在书中发明了一种语言来谈论刚建国时的美国民族身份。本书以一组偷拍照片开场，展示了莱蒂西亚·卡斯塔在她出生的科西嘉岛度过的短暂假期。2020年隔离期间，舍雷尔在他位于纽约布朗克斯的工作室中绘制了与之相关的大型油画，使用传统的油画颜料喷涂在涂有厚厚底漆的棉布画布上进行创作。

‘Leaves of Grass’ is a publication by Yves Scherer made in connection to the exhibition with the same title at Galleri Golsa. The title is a reference to Walt Whitman’s well-known book of poetry, in which he developed a language to speak about the national identity of the newly founded United States of America. The book opens with a collection of paparazzi photographs that shows Laetitia Casta on a short holiday in Corsica, the island where she was born. In connection to the photographs are large scale oil paintings of identical format that were painted during quarantine in 2020 in his studio in the Bronx, NYC. They are executed with traditional oil paint that gets sprayed onto thickly primed cotton canvas.

《Soft Pop》是一本专题出版物，精选了2013年至2020年的作品，由艺术家与设计师兼出版商Marius Steiger合作出品。像是基于同时响起的音符和声，《Soft Pop》并没有试图对标题进行反思，亦或在舍雷尔的作品中找到参考，而是把具有Soft Pop特征的图片连贯起来。本书附有一本小册子，收录了Abaseh Mirvali、Jenny Danielsson和Daniel Lalor的文章。

‘Soft Pop’ is a monographic publication that features a selection of works from 2013 to 2020, organized and selected by Scherer with designer and publisher Marius Steiger. Like a harmony based on simultaneously sounded notes, ‘Soft Pop’ does not try to reflect on it’s title or find certain references in Scherer’s works, but to produce image progressions which are ‘Soft Pop’ themselves. The book is accompanied by a text booklet by Abaseh Mirvali, Jenny Danielsson and Daniel Lalor.