Amélie Berrodier’s work probes the photographic portrait and its social uses. Through the study of her history and the development of her techniques, she writes production protocols that she repeats to create the works that make up her installations. Alternating between silence and testimony, it presents personal stories in which the visitor is encouraged to identify.
Very often, she uses the video medium to record the portraits of the people she meets. By working on the staging with them, she questions their knowledge of the medium and the relationship that exists between the subject, the device, the artist and the spectator. With this process, she captures various ways of positioning oneself in front of the camera and interacting with it. These videos are then witnesses of these moments of disconnection where people vacillate between control and letting go of the social image they build for themselves.
Navigating between photography, cinema, theatre, performance and painting, the artist also manipulates the codes of the portrait for the production of plastic pieces involving other mediums. Archive images, self-portraits recovered on the networks, practice of framing, photographic techniques are then diverted in series to become objects and materialize the history of the medium.
My work revolves around the photographic and video portrait and its current use. Studying his history leads me to organize eye contacts trough face to face with the viewer. In order to reveal the components of a personality, I nurture silences to expose the mimics which build our facial expressions. By taking an interest in recording each of us, I’m looking to capture the different aspects of verbal and non-verbal gestures, revealing the way we communicate with each other.
So my pieces result from my interactions with the people surrounding me. I mainly meet them trough door-to-door. I often film them at their home in the following moment. My fundamental approach is to establish a contact and generate a relationship of trust with devices (systems). With this process, I use concept of distance and proximity in order to capture the moment of recess where people flick between the idea of controlling and letting go the social image they are building themselves.
With this approach, I often ask the people I film to re-act their own part. To include them in the same context allows me to highlight their differences. By assembling this collection of individualities, I confront them one to an other and underline what binds them in a universal way.
Amélie Berrodier – 2020
In this hyper-connected world, notions of intimacy, identity, privacy, personal or public space are often blurred by the continuous flow of images. Videographer and photographer, Amélie Berrodier (b.1992) operates against the current, and as for a “return to the banal”, makes collections in the daily. She selects imperceptible figures and “territories” that are revealed by the sensitivity of her objective.
Amélie Berrodier is a young filmmaker and visual artist. Through a documentary-like approach, she focuses on the everyday life and what is often called the “banality” of things. The heart of her work is the chafing transition between the private sphere and the public sphere. The artist develops simple rules that she uses to observe, with the apparent neutrality of a documentary approach, the complexity of the feelings and behaviors that underpin relationships with others.
Iman Ismail, Curator – 2017
PUBLICATIONS / PRESS
Expressions vénissieux, Photo de classe : “Un, deux, trois… ouistiti”
Expressions vénissieux, Amélie Berrodier : ne bougeons plus
AC-RA, Résidence d’Amélie Berrodier – EAP Madelaine-Lambert
Ateliers Médicis, Amélie Berrodier
Méo-Camuzet, Prix de la Jeune Création Artistique 2019
Les Halles du Faubourg, Rencontre avec Amélie Berrodier
Alys Demeure, Le Bail – Amélie Berrodier