Salomé Chatriot (1995) is based in Paris.
Since 2019, Salomé Chatriot has been deploying her breath through Fragile Ecosystem, a series of procedural performances hosted in different contexts with which she interacts through a medical machine capturing her breath in real time: a spirometer. The artist's breath generates biodata that inform the matrix of the other media she uses: painting, sculpture, installations and videos.
In 2021, Salomé Chatriot was selected by Cécilia Alemani for the Biennale College Arte workshop at the 59th Venice Biennale. She directed her first film, Our Symbiosis Infected her Fertile Systems, commissioned by Boris Magnini and produced by Unfinished Camp, based on a proposal by Hans-Ulrich Obrist and András Szantó. The film has been shown at the Shed Museum in New York and at the HEK in Basel. Salomé Chatriot has performed at Lafayette Anticipations and the Palais de Chaillot in Paris, in Gstaad with the Luma Foundation and at the Teatros del Canal in Madrid. A selection of her films, videos, paintings and sculptures is currently on show at Germany's Marta Herford Museum as part of an exhibition exploring the intersecting relationships between art and technology: Between Pixel and Pigment. Hybrid Painting in Postdigital Times.
Salomé Chatriot merges elements of technology with organic parts to create physical and virtual spaces where electronic sculptures and digital images coexist.
In her work, physical processes like breathing and heart beating activate mechanical processes, resulting in a symbiosis between human bodies and technological devices. While refusing to embrace a prevailing pessimism about technological progress, she seeks for opportunities to expand our intimate relationships with technologies. In addition, she explores issues of identity, gender and sexuality through a distinctly erotic component, while it also challenges dominant narratives. Through her hybrid, disturbing yet optimistic artistic language, Chatriot is capable of generating unconventional approaches relating to technological tools.
“Anxious to counteract the coldness of the mechanical, the virtual image and the prefabricated, she strives to coat her creations with the poetry of her universe and the formal softness of the living.”
Matthieu Jacquet, The organic creatures of Salomé Chatriot, at the border of the real and the virtual Numéro Art, July 2021