Ludmilla Cerveny builds images. Not drawings, neither photographs. The artist plays with the vocabulary and the specificities of each technique to create her own formal and aesthetic language. Each image is built on the same model - a succession of more or less abstract plans in which light and shadows are playing a decisive role and confront us with an intimate space, withdrawn into itself, which we are obliged to observe from the outside. All spaces are emptying the scene and makes the human figure almost totally absent. However, the presence of halos of light, chairs and ladders give us the image of territories inhabited by a ghostly presence of our own bodies.
The viewer is also relegated to its observer's role in the models, or sculptures, that Ludmilla Cerveny creates. Volumes in which we can't penetrate nor project ourselves as the proportions and scales may seem disproportionate - a feeling that may be reinforced by the presence of personal relics from the artist's collection that she place in the huts she builds.
By endeavoring to return to the essence of photography on the one hand (by questioning the notions of frames and lights), and on the essence of architecture on the other hand (by building shelters and imagining circulation spaces), the artist manages to highlight the very best of every media she uses while she gives back the contemplative functions to these images.