Amélie Bigard — Ecstasy — PACT Gallery — Exhibition — Slash Paris

Past: March 30 → April 30, 2024

Amélie Bigard exposes the psychological effects of violence. In a fashion reminiscent of a brooding teenage film, her emo icons vividly depict the existential angst plaguing a segment of Western youth.

By assigning individual responsibility for their despair, neoliberal individuation masks the underlying socio-political dynamics, thereby obstructing awareness and collective action. Undoubtedly, inspired by the religious Orthodox icon she studied in Marseille, Amélie Bigard paints the fallen angels of her time and the ghostly presences — norms or figures of authority — that torment them. The authoritarian father, God, or the neoliberal notion of success—all once revered as great totems of the past—have now diminished in their aura. Yet, the invisible cages they have constructed around us persist. The artist reveals how we can remain ensnared by forces to which we no longer adhere, planted in an outdated matrix, lost in the limbo of uncertainty.

Amélie Bigard represents the journey out of the cavern of childhood fantasies into the harsh light of reality. As soon as one steps beyond the threshold, a void looms, born of unfulfilled dreams, shattered futures, depression, heartbreak, and distances. A void where the cute plush toys peddled by capitalism offer no solace.

As embodiments of a youth fractured in its passions, Amélie Bigard’s characters stand as numerous zombie-like presences. Their bodies remain frozen, unable to fully regain vitality. They dwell in liminal spaces, such as doctors’ waiting rooms or den-like bedrooms. Completely drained, submerged in the pale hues of institutions and hospitals, they curl inward, undergoing a chrysalis-like transformation. At times, there are several of them, and some hold hands or embrace each other. They are fortunate. Amélie Bigard portrays both our collective pains and the glimmers (tenderness, human relationships…) that prevent us from succumbing. A significant metamorphosis is on the horizon.

Julie Ackermann