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The year 1990 marked the start of Fleury’s career, which has rapidly soared to great heights on the international art scene. The fascination her work commands is due in large measure to the deliberate confusion it arouses between art and fashion.
At her first exhibition in 1990 she presented artworks referential to famous artists such as: “Mondrians” in synthetic fur; “Fontanas” in ripped-up jeans; “Rymans” splattered with nailpolish; and a number of other emblematic icons of artistic modernism that she “bastardizes” by linking them to products stemming from the world of fashion.
Her technique starts out with the appropriation of consumer icons or fetishes, and ends up with their transfer to a different scale of values.
For example, in an exhibition in Saõ Paulo, she installed seven 350-centimeter rockets that incorporate hidden loudspeakers blaring a closed-circuit soundtrack mixing spatial resonances with voices reciting publicity slogans, like “Moisturizing is the answer.” The installation also included giant wall paintings featuring more slogans written against variously colored backdrops. The rockets themselves are not only limited to lipstick color shades but share that object's totemic and metaphoric function.