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Valerie Hallier
Brooklyn, NY
Neighborhood: Brooklyn Heights



ARTIST STATEMENT: Using multiple media from video to photographs, interactive media to beads, my work is conceptual, project based and often takes the form of installations. Through the collection and visualization of information, it explores the absurdity and the poetry within the process of exhaustive study. The overarching themes are the notion of portrait and self-portrait rendered in a contemporary context.

As a child, I was obsessed with the idea of drawing every single thing that exists in the world. Despite its naive quality, the feeling of embarking on this vast quest was so powerful that it still infuses my work today. The recurrent and consuming desire to catalog, up to the absurd, is a way to understand and order the world around me as well as interface with it. The systematization and hierachization that ensue can both help communicate (poetry) and alienate (absurdity).

Computer technology, like an extension of our brain, offers great tools to archive, organize, and visualize information, yet its limitations betray our own. I find the restrictions and the flaws of recent technologies to have aesthetical qualities and meanings that deny the perfection we want machines to emulate. They reconnect us with a sense of mystery tied to our human condition, especially as we are detaching ourselves further and further from the natural world.

I am interested in exploring the confrontation between the human and the technological. By way of practices and rituals like taking a picture a day, monitoring a building’s entrance, cataloging every object I own, or documenting long-distance conversations -- each project confronts intimate and subjective data with the mechanization of actions, the systematization of technology and the codifications of cognitive sciences.

By emulating the processes of technology and by working with it directly, my work aspires to render the systems and patterns that describe a contemporary character. The resulting portraits or self-portraits reveal in turn the intimately technological and the systematically human.

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  • Elsa -Tel Aviv - 04/19/09 - 01:02:46
    2010
    C-print   18x24 inches
    Part of a larger series called Slow Portraits, this print takes advantage of the strange beauty of technological mishaps. This computer screen, captured while conversing online, depicts a moment when

  • Screened Calls & Slow Portraits (concept drawing)
    2010
    digital file
    Concept drawing for the installation "Screened Calls & Slow Portraits". This installation documents and deconstructs 77 long-distance conversations conducted online with 7 individuals t

  • Screened Calls & Slow Portraits
    2010
    1 projected animation, 7 framed C-Prints
    Partial view of Screened Calls & Slow Portraits. This installation documents and deconstructs 77 long-distance conversations conducted online with 7 individuals throughout 2009. An interactive ser

  • Moods
    2010
    framed digital print   18x24 inches
    This chart presents an aspect of the 77 online conversations that took place within a year with 7 interlocutors. It visualizes the fluctuation of the mood within each conversation with each person thr

  • Elsa - TelAviv - 03/05/09 - 08:19
    2010
    C-print   36x24 inches
    Part of a larger series called Slow Portraits, this print takes advantage of the strange beauty of technological mishaps. This computer screen, captured while conversing online, depicts a moment when

  • Garland - Springfield - 03/11/09 - 20:07
    2010
    C-print   36x24 inches
    Part of a larger series called Slow Portraits, this print takes advantage of the strange beauty of technological mishaps. This computer screen, captured while conversing online, depicts a moment when

  • The immortals (simulation)
    2009
    Digital file
    Simulation of an installation presenting a series of 1440 photographs cataloging every object I owned over 10 years. The project exposes the complexity and the absurdity of our relationship with mate

  • The immortals
    2009
    1440 digital prints in cellophane bags   8x8 inches each
    This installation presented at the CAS Arts Center (NY) displays a series of 1440 photographs cataloging every object I owned over 10 years. The project exposes the complexity and the absurdity of our

  • The immortals
    2009
    Digital prints in cellophane bags   8x8 inches each
    Detail view of "The immortlas", an installation presented at the CAS Arts Center (NY) displays a series of 1440 photographs cataloging every object I owned over 10 years. The project exposes

  • The immortals
    2009
    4 Digital prints   8x8 inches each
    Detail of "The immortals", an installation presented at the CAS Arts Center (NY) displays a series of 1440 photographs cataloging every object I owned over 10 years. The project exposes the

  • 48 tenants (simulation)
    2009
    Digital file
    The project presents, through a series of 48 portraits, the exhaustive number of people video-monitored in and out of the same building. For a year I became a manual surveillance system activated by t

  • Tenant #25
    2006-2010
    Digital print, glass beads   7x7 inches
    This piece is part of the series "48 Tenants". The project presents, through a series of 48 portraits, the exhaustive number of people video-monitored in and out of the same building. For a

  • Tenant #22
    2006-2010
    Digital print, glass beads   7x7 inches
    This piece is part of the series "48 Tenants". The project presents, through a series of 48 portraits, the exhaustive number of people video-monitored in and out of the same building. For a

  • Tenant #17
    2006-2010
    Digital print, glass beads   7x7 inches
    This piece is part of the series "48 Tenants". The project presents, through a series of 48 portraits, the exhaustive number of people video-monitored in and out of the same building. For a

  • Medusa
    2004
    C-Print mounted on Plexiglass   18x18 inches
    This print is part of a series called "Space Available" which presents stills extracted from a year-long surveillance of the transitory space of a building’s entrance. I became a manua

  • Beauty 104
    2003
    C-Print mounted on Plexiglass   18x18 inches
    This print is part of a series called "Space Available" which presents stills extracted from a year-long surveillance of the transitory space of a building’s entrance. I became a manua

  • Boy A Car
    2005
    C-Print   20x20 inches
    This print is part of a series called "Space Available" which presents stills extracted from a year-long surveillance of the transitory space of a building’s entrance. I became a manua

  • 10 Years, a user manual
    2000
    website
    Main interface of the website: 10 YEARS A USERS MANUAL. The site utilizes the Internet to store, organize, and display autobiographical information entered in a database. Through the interaction with

  • 10 Years, a user manual
    2000
    website
    Sub-section of the website: 10 YEARS A USERS MANUAL. The site utilizes the Internet to store, organize, and display autobiographical information entered in a database. Through the interaction with the

  • 36 boxes
    1999
    website
    Main interface for the site 36 boxes which presents the exhaustive content of 36 boxes left in an attic in France upon my departure for the United States. The viewer can explore the content of each bo
 








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