The Project
in her paintings, Chabannes explore various representations of identity within philosophy, psychology, and art history. Following her project "Double Portraits and the Fourth Hand" (–), which examined the intersection of identities in collaborative artist couples, Chabannes was commissioned to draw and paint all original portraits and artwork for UNLADYLIKE, a timeless and resource-rich repository of U.S. women’s histories from the early years of feminism. From to , Chabannes worked as the main artist and the artistic director for the animated documentary film series UNLADYLIKE SEASON 1 , which premiered on PBS’s flagship biography program American Masters with 26 digital shorts and a one-hour television broadcast about little-known historical American heroines, and the women who now follow in their footsteps, in honor of the centennial of women's suffrage. These rebellious, persistent, and daring — unladylike! — women overcame severe challenges to excel in science, medicine, politics, business, journalism, sports, aviation, and the arts at the turn of the 20th century — including the first woman to lead scientific expeditions in the Arctic, join the Nation
Amelie
Chabannes
b. , Paris, France, lives and works between New York and Paris
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Donated Artwork
This series is part of a new large-scale site-specific fresco project funded by a major art collection combining the predominant Minoan icons: the Octopus and the sacred Minotaur.
“Taurokathapsia” is a playful and poetic exploration of the Minoan matriarchal civilisation, a sculptural and pictorial journey reflecting on the fallen empire, its visual remains, atypical symbols, and its past and present conceptual strength.
“Taurokhatapsia”reflects the poetics of the lost empire. It unfolds in six minimal, large-scale frescoes and numerous drawings in which the octopus, a graceful bearer of Minoan economic and political power is interwoven with the more architectural and abstract horns of the Minotaur , an imposing keystone of the Palace of Knossos.
Taurokathapsia, K and Mala, Large Sketch #1 ,
Ink, and Compressed Chacoal on Heavyweight Paper
14 x 20 cm
Unique
About the Artist
Amélie Chabannes is an artist who works in drawing, painting and animated film. She studied architecture and fine arts at France's leading art school, École nation
Amélie Chabannes is an artist who works in Drawing, Painting, and Animation Film. Chabannes was born in Paris, France, and studied Architecture and Fine Arts at the leading French Art School, ENSAD, and currently live and work in Brooklyn, NY.
In her paintings, Chabannes explore various representations of identity within philosophy, psychology, and art history. Following her project "Double Portraits and the Fourth Hand" (–), which examined the intersection of gender in collaborative artist couples, Chabannes was commissioned to draw and paint all original portraits and artwork for UNLADYLIKE, a timeless and resource-rich repository of U.S. women’s histories from the early years of feminism. From to , Chabannes worked as the main artist and the artistic director for the animated documentary film series UNLADYLIKE, which premiered on PBS’s flagship biography program American Masters with 26 digital shorts and a one-hour television broadcast about diverse and little-known historical American heroines, and the women who now follow in their footsteps, in honor of the centennial of women's suffrage. These rebellious, persistent, and daring — unladylike! — women overcame severe sexis
The Aldrich Contemporary Art Museum
Chabannes was attracted to these figures because of their attempts to merge two personalities into one identity, what is referred to in psychology as “fusion.” Defined as the desire of two individuals to become one, which is most commonly manifested by the popular romantic notion of “two halves make a whole,” fusion is fueled by the belief—both conscious and unconscious— that bliss is achieved through unity. Yet if fusion is taken to an extreme, the result can be the pathology of damaging dependency, or an attempt at a kind of liberation.
Using archeological procedures as a metaphor for the processes in psychology that uncover and expose the self, Chabannes has not only destroyed the images of her predecessors, but also dug through the images and into the infrastructure of the Museum. The process of excavation (and discovery) will continue throughout the exhibition as she periodically returns to continue to burrow into the Museum’s walls.
Chabannes’s use of the phrase “the fourth hand” refers to art historian Charles Green’s book The Third Hand: Collaboration in Art from Conceptualism to Postmodernism. The title relates to the timeless
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