SHORT BIO
As a visual artist and photographer, I have pursued my artistic practice in parallel with a militant feminist commitment and theoretical research in the field of arts revealed through the prism of gender.
I have been a professional author-photographer, before becoming, 10 years ago, a lecturer and researcher in Visual Arts at the Université de Lorraine, and co-founder of a university gallery, Galerie 0.15//Essais Dynamiques.
My artistic practice, my militant commitment to La Barbe, a feminist action group, and my theoretical research in arts are still developing today, always energizing each other.
My plastic art practices all take part in the elaboration of a formal work of assemblage, installation and, recently, video pieces.
In the context of assemblage work, I developed silver photographic prints as part of a long-term project on the natural landscape, which has been acquired by the Bibliothèque Nationale, as well as by collectors.
My pictorial, photographic and videographic research responds to each other in a poïèsis where slowness and attention to the most tenuous open up the infinite landscapes of memory's beating in the present. I look for listening and waiting, the trace of encounters and the paths offered, in fragments, driftwood of a lost oceanic feeling.
PROPOSED WORK
“Walk, Glean, Live in”, collectively invent a definition of "habitable territory", plural and divergent.
How to do it: Walk, glean, entangle our practices, reveal their particularities and their communities.
My proposal is to walk to glean, and to glean two things. They could be a pebble, a branch, a dry stem, a thought, an idea, a word, a gesture.
One of the things will be gleaned to relate to one's own practice, and the other thing will be gleaned to give to one of the artists in residence.
Each person will keep for a while (one to 3 days) the thing gleaned and the thing received.
There will be a second walk, with time to tell the others: what the gleaned object confirms, transforms, or sheds light on from one's own artistic practice; what the object we've been offered does to us; what these things tell us about our landscapes (real and inner). Together, we'll explore what makes a territory habitable.
At the end of this second walk, or during a third, there will be a time to return the things collected, and perhaps compose the first landmarks of this habitable territory, listening to the landscape.
Studio: 15
Sep 18 - Oct 2
walking, thinking, sharing, dreaming, changing, sharing, thinking, walking, looking at things carefully, thinking, sharing, changing, sharing, walking, walking, walking, slowing down, slowing down, walking, thinking, sharing, breathing,
smiling, sharing, smiling, changing, thinking, walking, looking at things carefully, walking, slowing down, sitting down, listening, beeing peacefull, beeing thankfull, sharing, laughing,
trying, experimenting, failing, trying, walking, breathing, inventing, sharing, walking by night, dreaming, staying silent,
looking at stars, looking at the moon, forgetting, changing, reminding, walking, beeing back, returning to old paths, walking, walking, walking, walking, breathing, feeling the wind, feeling the cold, taking crossroads, taking shortcuts, getting lost, finding your way.
The forest, Ami Skånberg, Cecilia Lagerström, the mobiles and the wind - Improvisation, Fairy Moss place, Björkö-sept2023, 1st experiment, part 2
The forest, Nahelli Chavoya, the mobile and the wind - Conversation, Fairy Moss place, Björkö-sept2023, 3rd experiment
The forest, Nahelli Chavoya, the mobile and the wind - Conversation, Fairy Moss place, Björkö-sept2023, 1 st experiment
Mobile with blue knit and shadows in Fairy Moss place, Björkö-sept2023
The sound: strangely présent.
The human activity beyond the trees can be heard.
This creates a discrepancy with the proposed vision, which seems (1) bucolic, (2) free of any significant intention.
This gives the scene a possible meaning: that of the figuration-restitution of a state of the world?
No untouched nature, with no trace of humans, anywhere.
And/or it seems to replay the image/sound experiments of the experimental filmmakers of the 60s and 70s: a sound that has nothing to do with the scene.
The fact that it's not a case of a deliberate image/sound discrepancy, but on the contrary a sound in: what do I make of it? a kind of denunciation or observation of a human/nature relationship? an the interrelation of our planet's components?
There's another thing, too, which is that I, in a situation, don't hear the sounds captured by the camera with the same force. Just as the aurora borealis is only seen as green by the camera function on our cell phones, while we see, with our eyes, glimmers only brighter than the rest of the sky.
