One of the bright lights of her generation, French artist Aude Pariset talks about her multifarious practice in advance of her autumn solo show.
Young French (formerly Berlin-based) artist Aude Pariset returns to the city for a solo exhibition at Sandy Brown Gallery. Pariset is responsible for the experimental Bcc curated exhibition series. The format sees a curator invite artists to send digital material that is then used as a basis for an exhibition. The tension between how digital art works is materialised, ideas are transferred via the internet and how curatorial positions are managed or misinterpreted are all explored.
How does the concept for Bcc relate to your artwork?
It’s related in the way it manipulates the digital format and is free to give any kind of outcome. For instance in one of my works, I’ve been using digital paintings from PaintFX, printing and casting them in the form of a seashell.
What’s your interest in digital tools and technology?
I like to play with digital technologies for image editing, combining them with more traditional ways of art or craft making. I have made some printed works mixing digital and analogue techniques, for instance the graffiti scribbles reproduced on tiles. They are inkjet prints where the image is fixed for some parts while the rest is being washed off. It combines printing, painting and a reference to dark room processes.
How does the internet influence your process and work?
The internet seems to be the unavoidable starting point of any research… it gathers the databases of the encyclopaedia, the atlas and libraries. Even to look for a book you have to go through an internet interface to find it. All of that is being mixed with commercial content and individuals sharing personal data. There’s a large part of my work that consists of processing images, videos or texts and having in mind this frame that they are hosted in.
Do you identify with the ‘Post Internet’ dialogue?
Not directly… but if it means that you allow yourself to freely use content sourced on the internet, I and a lot of artists can be considered part of it.
Did Berlin spur your interest in graffiti?
The very strong presence of graffiti in Berlin is of course one reason I’m drawn to use it in my work. I was interested in how those images function ontologically. They are supposed to be a means of self-expression but they end up being generic because they take part in a play of genre and styles. Also they are around us but we can’t see them anymore because they look similar, overlaid by other tags or are undecipherable. They have to do with their own erasure.
Aude Pariset through October 6 | Sandy Brown, Goebenstr. 7, S+U Bhf Yorckstr., Thu-Sat 13-18:00