Valérie Hallier - NEWS


As a child, I was obsessed with the idea of drawing every single thing that exists in the world. Despite its naive quality, this yearning still infuses my work today. I am fascinated by the impossible idea of representing “all” or “every single one” towards the termination of my subject.

Conceptual, my practice crosses disciplines from photographic series to immersive installation combining at times video, interactive new technologies, sculpture and drawings, using a variety of diverse materials from beads to flowers. Materials and aesthetics are chosen each time to push the limits of both the form and the concept.

Key recurrent themes include exhaustive study, contemporary portraiture and the illusion of control in the context of our relationship with technological and natural processes. By way of practices and rituals like taking a picture a day, ranking every single person I’ve known, portraying someone ad nauseam or visualizing every scream, each project explores the absurdity and the poetry within the process of exhaustive study.

By emulating the means of nature or technology and by exposing my own obsessive workings, my work aspires to render the systems and patterns that describe a contemporary character.

-Hallier's work follows an integrative continuum that utilizes technology as tool and object, generating an exquisite tension between the humanistic and mechanistic sense of Being." Judith Escalona

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If the process of exhaustive study is at the center of my work as an artist, the subject has to do with control, more precisely, with the illusion of control which relates both to the use of technology in my work and to the workings of my obsessive mind. The form I often use is portraiture or self-portraiture. I collect, organize and rate autobiographical data in an attempt to render a version of the genre that has relevance today, one that describes a contemporary character in turn intimately technological and systematically human. This tension between the mechanistic and humanistic sense of being fascinates me. I wouldn’t say my work has a particular style. It is conceptual and the tools, mediums or materials used are always serving the concept first. The aesthetic adapts as well to the main concept of the project or become a derivative of the techniques used, as with the use of technology’s glitches.

The questions I grapple with in my work are about the challenges of relationships. My own to the world, to others, as well as our relationship as humans with technology, with nature and the inexorable process of exhaustion that suggests both our ability to take over, control and destroy as well as to create, save and transcend.

Lately, I have been encouraged by the social climate to emphasize more specifically on the feminine aspects of my work and inspiration. It is not a new aspect but I would like to explore more overtly what it means to be female today.


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