Updated: May 31, 2022
Aude Parichot is an artist I discovered at the exhibition Radical Slowness which was held at The Lock Up in Newcastle from 27th March - 15th May 2022.
Image: Installation view (in progress) of Chauffe Marcel Chauffe: Conversation with Prose Selavy, 2022, charcoal, string, ephemera, found objects, video documentation, and past artworks. Photo source: Jo Dyer
Aude was working on an installation over the duration of the exhibition. Her installation ran across two rooms. She works with time and space as the parameters of her work (e.g., space being the gallery or project space and time being the duration of the residency / installation. Her aim is to engage with the space in a way that reflects her studio practice which she says is intentionally not outcome driven, as a response to the outside world where most of the time we do something to achieve something that is already planned. It seems that in most cases the work (installation) is open to the public as she is creating it, so day one of the exhibition would be a blank space and her confronting it, which is quite interesting. She doesn't like approaching her work as an act of performance, but rather prefers to engage directly with the audience and likens it to almost becoming an act of co-creation. She uses zoom to record interactions within the space which are layered and projected onto the wall and become part of the artwork. In the video on her website she mentions the value of working with slowness and care: http://www.audeparichot.com/
Like Emma Fielden's work, the aspect I enjoy most about Aude's work is that the artwork becomes slippery to conceptually or materially define. She brings in previous fragments of artworks, drawing them back into a process of being made, which is what I also do with my ephemera. To me this gesture acknowledges the reality that nothing is really ever complete or resolved, just evolving from one state to another, if a "state" can even be decidedly determined. The layering of both physical and virtual realities through projection is something I have also been exploring with my work by projecting my images of floral fragments onto physical fragments or physical prints or paintings. The use of light and how it defies a phenomenological bearing as either firmly material or immaterial makes it very appealing to work with.