Art-Trope Artist and photographer Florence Cardenti tells us about her artistic statement and her unique approach to photography:
My interest in artistic creation as a photographer started when I was a child. After graduating from High School in 1990 in Lyon, and obtaining a Master degree in Fine Arts in Saint-Etienne, I chose to work as a computer graphics designer in Paris. Then I worked with my husband who is an information systems engineer (technical drawings, SMEs administration). Since 2010, I have been refocusing on my artistic activities. While continuing my collaboration with my family, I kept producing artistic and photographic projects and then obtained a second Master degree in Fine Arts, majoring in photography in 2016. Thanks to my professional experience, I learned how to be an entrepreneur and therefore diversified my interests. My entrepreneurship experience and approach to new technologies enable me to better define my points of interest in Fine Arts as well as our society’s new challenges, the relationship to collective memory each country has, an our more and more complex and technological relationship to images.
Her Artistic Statement
The marks left by memory are a constant inspiration to me as part of the different projects I am taking on which themes go from intimacy to collective history. My use of photography comes from a broader research on image and plasticity. Originally a visual Artist, photography interests me because it is a way of putting together marks and through its reproducibility, adaptability to all kinds of supports, and ductile and malleable aspects, it enables me to use it as primary material I can adapt to each and every one of my projects. Therefore, I take photographs in colors and in black and white through digital, silver-based process and ancient techniques. I always use multiple supports such as hangings, books, sculptures, projections. My different series or image collections are based on recurrent processes that involve transparency, multiplicity, association or diffraction. The viewer often participates in the Artwork through his/her action, his/her movements or his/her imagination. To me, the image is an alternative to verbal thinking, closer to our senses, and that leads us to consider the world not from the angle of our own knowledge but rather from our experience.
I value research immensely which implies evolution to me. I regularly take classes on topics I’m interested in as well as new techniques as part of college or independent Artists groups programs. I also find it very inspiring both theoretically and empirically to get out of the Art world. However, my life experience is what inspired me the most. I currently focus on developing three projects: the first one, entitled Coelacanth, resulted in an Artist book. It is a collection of photographs taken during my European travels that questions the continent’s culture which is also mine and which knowledge and importance take so much space that it seems to slow its evolution down. The second project is entitled (Sur)Nature and evokes my travels once again, but this time the ones on which occasion I was a stranger in a part of the world, Colombia, where nature and human beings take so much space that there aren’t many possibilities to mingle. Photography details my complex relationship with that particular country which is also where my husband was born and therefore both attracts and pushes me away. The third project entitled “I prefer the forgotten ones” is an ever changing project that started in a basement, gathering objects and family snapshots, and from which I keep on producing more and more images and documents. By repeating the conservation and accumulation processes, the new images that come out of it modify the memory, tell different stories and compromise with the past.
So far I have only participated in group shows. Even though I think it is also important to have solo shows, I still like the dialogue that exists among the Artworks in a group show aside from the Artists. In 2018, I will participate in a project with the collective Kollision/s. On this occasion I will present the project “I prefer the forgotten ones”. In April 2018, I was part of the first symposium organized by the CIRBE (Collège International de Recherche Biographique en Education) with my project (Sur)Nature. Over Spring 2017 the Bibliothèque Nationale de France purchased the first copy of the book Coealacanthe. I would like to find occasions to present my work in festivals (photography, contemporary art, literature) or in galleries, and to collectors.
Her relationship with Art-Trope
My goal is to be able to keep creating with more financial support and visibility. I would like to focus on developing my career both in the private (collectors, galleries, corporations investing in culture) and institutional sector (Frac, Drac, museums) so that they can purchase my Artworks or commission new ones, or even host me in Artists residencies etc. Art-Trope increases my visibility and supports me in my exhibition spaces research and applications to projects. I also count on Art-Trope’s advice when it comes to the career development strategy and the production? The idea of being represented outside of France (London and New York) is of great interest to me because first of all I do not have any contact in those cities but also because “proving your worth” abroad is well considered as an added valued in France.
See Florence Cardenti’s Art-Trope profile here.
Read our article about the Fondation Lafayette Anticipations, new artistic hub in Paris here.