Jalis Vienne : I am delighted to speak with you. To start the interview, could you tell us what led you to become an artist? How would you describe your style?
Gaëlle Choisne : Art chose me; I didn’t really choose it. I followed this path instinctively. My style is hybrid and constantly evolving. I would describe it as nonchalant, chaordic, vibrant, and sensual.
J.V : Do you have a particular creative process?
G.C : Yes, I often start with a material or texture, sometimes from a fragment of a story that I’ve collected or created. This is the starting point of my creative process.
J.V : Your work often addresses the notion of memory. What is your relationship with it?
G.C : Memory is very contradictory; it serves our survival and grounding, but it can also be devastating and affect our emotions. The key for me is not to become a slave to it. The duty of collective memory is necessary to forget what needs to be left in the past and to keep moving forward.
J.V : You have an engaged body of work. How do you envision the relationship between art and society in your practice?
G.C : It is a continuous dialogue because, in my view, art does not exist without society and its contexts. Art only exists within its historical and social context, and if it can withstand these waves, it is resilient. I often work with groups from different socio-cultural backgrounds and multiple generations, engaging in artistic practices and experiences aimed at healing the group.
J.V : How do you integrate performance into your artistic practice?
G.C : Performance naturally finds its way into my work. I studied theater and cinema, so it feels like a form of altered memory from a past life. I love the living and I love collaborating, so performance has a unique and natural momentum in my practice.
J.V : How does your art interact with the public?
G.C : I think of it as an interaction from its conception. Some works are designed as activatable sculptures that engage the audience’s body, encouraging them to get involved or to observe the details of their own body. Sometimes, it even feels like a real sport.
J.V : Can you tell us about a key moment during one of your exhibitions?
G.C : I have a particular memory of a vernissage at Mac Val in Vitry-Sur- Seine, where I filled sculptures shaped like ovoid, with eggs and pastries. The audience eventually participated by eating parts of the sculptures. It was a surprising and unforgettable experience.
J.V : How does your work address issues of displacement?
G.C : Displacement has major effects on my practice. I consider displacement in multiple directions; I enjoy shifting situations to gain new perspectives. There is also an intellectual movement mechanism at play.
J.V : What is your relationship with spirituality?
G.C : Spirituality is embodied in my work. I practice spirituality daily through various rituals, as well as in my art. Sometimes in ways that are perceptible and sometimes not. I also perform prayers or create talismanic writings.
J.V : And with freedom?
G.C : I feel very free, and that allows me to move from one medium to another.
J.V : yes, freedom is a priority. In the previous issue of Archives Futures, I had the opportunity to discuss with iconic artist Youssef Nabil, who believes that art can heal humanity. Are you agree with that point?
G.C : I think the same. Art heals us as artists and heals those who come into contact with it. It is simply about emitting the intention. I like to emit intentions of peace, healing, and love.
J.V : And what about the pop culture? what is your relationship with her, as a contemporary artist ?
G.C : I love pop culture, and I think it says everything about our societies and their practices, as well as our behaviors. It is a form of contemporary anthropology.
J.V : Finally, and because I ask this question to all our guests, what is your own definition of luxury?
G.C : Luxury is the ultimate freedom, to embody our true selves and find happiness in this incarnation.
