Within my speculative material practice I positioned myself as both a preserver and a disrup-tive agent of nature. By means of ancient chemistry, I revive techniques for the production of ar-tistic materials based on the harvesting of wild plants. What remains of the the wildflower from which the dye contained in its structures would have been extracted and then precipitated, dried and pulverized into solid pigment powder? If the approach is honest, how can the impact that these manipulations have on the plants themselves be assessed ? In an attempt to respectfully reconnect with natural environments, how can one transform an all too often consumerist and exploitative relationship with natural resources? By engaging in a practice that requires patience, care and attention, I try to subvert the relationship that late capitalist societies have with time and performance. I slow down my production to accompany the pace of the growth of plants.
My drawings, installations, experiments, laboratories, poems and sculptures testify to a tempo-rality that I want to be complex, where ancient techniques join the burgeoning cycle of summer flowers and where the future of natural elements is drawn constrained and artificial. The mate-rials that go into my sculptures are consciously chosen for their symbolism, history and vitality.
As a white person living on unceded territories, in this era sometimes called the Anthropocene, I leave indelible traces of my passage; this is how I conceive of eternity. I want my artworks to disappear without leaving any trace. I encourage dissolution rather than conservation. I make art as a way to resist despair, hoping that we can find shelter under a piece of the silken fabric of time. My work is an ode to the horrific and grandiose wonders we will encounter tomorrow, today, yesterday and beyond.


Amélie makes art as one would enter a process of transformative grief. She is a member of the Textile and Materiality Research Cluster from Milieux Institute and a MFA candidate at Concordia University. She is also a co-founder and was an active member of the feminist edition collective, Les Bêtes d’Hier. Her research-based practice is supported by SSHRC, FRQSC and Concordia University Sustainable Action Fund.

She works and lives on traditional and unceded territory of the Kanien’keha:ka.


2019 Entanglement, Galerie VAV, MTL
2019 Hyperstition, Machine, MTL
2019 Graduating students show, Galerie FOFA, MTL

Using Format