Amelie Chabannes is an artist who works in sculpture, installation and Drawing. Chabannes was born in Paris, France. She studied Architecture and Fine Arts in a leading French Art School, ENSAD. She worked for many years with Architects and Designers on major projects, including a Cultural Center In Riga, Latvia. She moved to NY in 2005, she currently lives and works in Brooklyn, NY.
Her work has been exhibited in international venues that includes: The Aldrich Museum of Contemporary Art (CT, USA), The Gasthuismuseum (curator : Jan Hoet. Geel, Belgium) Critically acclaimed art festival Crossing the Line in 2009 and 2011 (curated by Lili Chopra and Simon Dove) New York, NY. Kunsthalle am Hamburger Plaz (Berlin, Germany) Galerie Hussenot (Paris, France), Stephan Stoyanov Gallery (New York, NY), NADA Sculpture exhibition (Miami, Florida) Syracuse University Art Center -The Red House (Syracuse, New York). Galeria Fernando Zubillaga (Caracas, Venezuela) S.E gallery (Bergen Norway) White Box (new York NY) Galerie Of Marseille (Marseille, France) Museo Frantz Mayer (Mexico City, Mexico) Drawing Now 2012 (Louvre, Paris) With artist Diana Shpungin. She has been awarded the International Center Award of Excellence for Fine Arts (New York, NY) along with artist Yoshitomo Nara.
She has been reviewed in publications such as The Wall Street Journal, Art In America, Flash Art (Us and Italy), White Wall Magazine, City Art, Timeout New York, Liberation, France-Amerique, Flavorpill, M Magazine, Elle (France), Architektur and Wohnen, Verso Arts et lettres, The Visual Art beat Magazine among others. Selected collections include the Progressive Collection, Cleveland, Ohio as well as numerous private collections in the United States, Europe, Russia and Japan.
Exploring the limitless notion of Identity, its various derivations and representations within philosophy, psychology and art history has been the main subject, which has haunted my work over the past years.
I first aspired to associate the exploration of the self with archeological procedures. My recent installations have stood as excavation sites and their sculptural objects were submitted to raw and meticulous recovery in which debris and artifacts are observed as remains of our individuality.
As I engaged in deeper research on fewer specific aspects of our identity, I became profoundly drawn to extreme fusional relationships that exhaust the sense of individuality.
By using and manipulating with great obsession, documents depicting Marina Abramovicz and Ulay while intensely performing, Genesis P Orridge and Lady Jaye attempting to resemble each other, Linda Montano and Tehching Hsieh practicing the far-off “year of the rope”, I include in my work cases of individual disappearance through extreme collaboration and witness its deep impact on the process involved in my practice.
First, a map of the original picture is drawn upon numerous layers of tracing paper; then, the data is endlessly flipped over, transferred and overlapped on a wood panel until the borders of each of the protagonists fade away.
I deliberately demolish parts of my drawings and sculptures, not only with the intention to recall the archeological protocol, gestures and its metaphoric strength, but also to suppress specific areas where the inseparable collaborators I mentioned earlier are in physical contact, where stands the third identity they created. I also attempt to challenge and destroy the established icons I chose to employ and therefore evoke my search for a new found expression.
Such iconoclastic actions fuel my hope of recalling a long history of prohibited representation; they also allow me to confront the conventionality of the fabrication of an art object. Altering an artwork already sacralized by the time and the virtuosity involved is definitely an act of defiance.