Untitled [residual slip]
Curated by The Artists & GALLERY46
24th to 27th July 2021
“As a French artist currently based in London, I recently graduated from Central Saint Martins, with a BA in Fine Art. Working mainly from digital imagery, my artistic practice questions the conditions of imagemaking and explores how real and digital realms co-exist.
Through the investigation of unmapped spaces, and the study of aerial war machinery and their idealistic portrayal in entertainment, I realised that the way we encounter the world around us today is highly influenced by media and entertainment, such as movies and video games, which seem to emphasise a disengagement and detachment from reality.
The disorientating experience produced by the lack of distinction between the real and the idea of an augmented reality is a phenomenon I have been exploring further in my practice, especially with drawing and painting. Overall, my work ambitions to emphasise a sense of immediacy in the understanding of potential threats and discourses around warfare and surveillance.”
“My practice involves developing the complex relation between the physical and the digital. I had been consistently working within the digital realm but more recently I have been experimenting with translating that into physical form, specifically in painting, which has proven to be a fertile medium to portray my research. Through forming this connection, I realised how my interests kept gravitating towards memory and the uncanny. I have been able to explore the impact of both combined, the importance of memory in a transhumanist world and the impact of memory throughout social media.
There is of course some sort of memory immortality within technology however I’m studying this and its importance in physical contemporary art. These specific works exhibited consist of painting objects or shapes that have been previously photographed or digitally created using AI text-image. This dematerialises them and transforms them into a flat image-like form. Starting with a digitally produced image, recreating a new version of that image on a canvas, to then relaying these images virtually within an online space shows a journey winding in between the two states.
The use of AI text-image allows a chance random aspect to these works, making them have an unpredictable ending in comparison to the original text. The aesthetic elements reside somewhere between AI and human form, simple palates used to exacerbate the unrecognisable features. I want to trigger a sense of unknown and discomfort with the lack of identifiable movements in these paintings, and Untitled [residual slip] shows a promising glimpse into this premise.”
“Exploring transcendence through spatial and temporal orientation, I situate installations relative to space, time and togetherness. Depicting subconscious understanding of the human experience of transcendence I have investigated the transportational nature of sound and its effect on our perception of duration.
Exploring the depiction and experience of transcendence through vertical planes I predominantly use painting as my medium. These initially formless depictions lacked specificity, allowing the reconstitution of any distinction to be added through situational choreography. Situating these paintings allowed me to recondition gravitational pull, influencing perception and how we understand ourselves relative to space. This demonstrating a sense of duration and presence through a static object.
Exploring spatial and temporal orientation, I attempt to further propel my practise through the medium of film and digital installation, focusing on the transportational nature of sound; an example of alternate transcendental experience.”
“This work is from a series of paintings I am making transcribed from polaroids taken by young American soldiers during the Vietnam War most of whom were of a similar age to myself. All of the images are previously unpublished and entirely sourced from Ebay.
I began this body work with the intention of becoming a kind of guardian to them, reclaiming them from a world of commerce and I now find myself in the process of building an archive that preserves the ephemera of the marginalised and minor histories of these largely anonymous individuals.In confronting and understanding the historical we might deepen our sense of reality and perhaps influence what is to come.
We can use the archive as primordial soup for imagining and calling upon potential alternative futures. In this sense the paintings are portals into an unfinished past and a reopened future. I aim to provide a meditative space through my paintings to allow us to reconcile with the past and connect on a human level with the lives and histories of others.”