Judith Duchêne


*solid fluids

*visible or not


 *les disparues

*an array of …

*still so much to learn





What's the front, what's the rear? What's above, what's underneath? Is the surface of the drawing/painting affected by the studio arrangement which can be considered as a space "out of frame"? How to document the process of the construction of a drawed/painted image? How to disturb it? How to introduce something disruptive to build a better understanding of the process in itself?

From my actual studio practice, involving mainly drawing and painting, and based on fragmentation, accumulation, superposition, emerges now these questions. As part of my PhD thesis in art and art sciences, I want to experiment them both from a theoretical approach (researches in visual anthropology: Hans Belting, François Laplantine,...) and a practical approach: the construction of images by accumulation, involving a work on the transparency of the medium.

With a background both in anthropology (MA) and in art (MFA), I want to deepen the links between these two fields of research, making use of ethnographic description to document the phases of the work's development. The practice and analysis of the process have to happen simultaneously / in real time. The analysis, through the anthropological perspective, of the working process in itself and the images produced, can lead to an understanding of the construction of images that includes an attention to the sensitive experience.