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Amelie Chabannes is a Parisian artist who works primarily in sculpture, installation, drawing and animation. She currently works for UNLADYLIKE2020, a multimedia series on PBS's American Masters that focuses on "diverse and little-known, trend-setting American heroines from the early years of feminism, and the women who follow in their footsteps".

Early Life and work history
She is a sculptor, installation artist, and illustrator. Originally from Paris, Chabannes now lives in New York City. After graduating from ENSAD, France's most prominent national art school for architecture and visual arts, she worked as an architect in Paris. She worked with architects and other creatives on a variety of notable projects, including the Riga Cultural Center, over a number of decades. Amelie moved to New York in 2005, and she then resided and performed her duties in the Brooklyn neighborhood. Throughout the last decade, her work has been shown at a number of galleries (L.A., New York, and Paris) and in a number of group exhibitions, solo shows, and museums.

UNLADYLIKE2020
From 2016 through 2020, Chabannes was responsible for all original artwork, animatics, and creative direction for the television documentary series Unladylike2020, which consisted of 26 episodes/films shown on PBS, PBS American Masters and other networks across the world. The CPB Broadcasting, the CPB Arts, and other grants and awards have been given to UNLADYLIKE2020 by groups like these:

Galleries and Museums
Her work has been shown in galleries and museums across the globe, including the Aldrich Museum of Contemporary Art in Connecticut and the Gasthuis museum in the Netherlands, where she now lives (curator: Jan Hoet. Geel, Belgium). Curated by Lili Chopra and Simon Dove, the New York City art show crossing the Line was a huge success in 2009 and 2011. Hamburger Plaz Kunsthalle (Hamburger Plaz Kunsthalle) (Berlin, Germany), Stephan Stoyanov Gallery (New York, NY), NADA Sculpture Show (Miami, Florida), Galerie Hussenot (Paris, France) Syracuse University Art Center's Red House (Syracuse, New York). Galleria Fernando Zubillaga (Caracas, Venezuela) box of white gallery S.E. (Bergen Norway) (New York NY) Gallery of Marseilles (Marseille, France) Drawing Now 2012 (Paris, Louvre) with Diana Shpungin at the Frantz Mayer Museum (Mexico City, Mexico). He shared the International Center Award of Excellence for Fine Arts with artist Yoshitomo Nara (New York, NY).

Notable Highlights and collections
Flash Art (in the US and Italy), Forbes Magazine, Art In America, City Art, Timeout New York, The Wall Street Journal, Liberation, Flavorpill, M Magazine, White Wall Magazine, France-Amerique Elle (France), Verso Arts et Lettres, The Visual Art Beat Magazine, and others have highlighted her work. The enlightened Collection in Cleveland, Ohio, as well as other special works from the United States, Europe, Russia, and Japan, that are among the highly notable treasures on show during the exhibition.

UNLADYLIKE2020 (2020)
Most recently, Amelie Chabannes has been the artwork producer for UNLADYLIKE2020 creating paintings and stop-motion animation that is featured on the show. Working with filmmaker friend, Charlotte Mangin, Chabannes worked to highlight the heroines of early American feminism. Due to the low-budget and lack of availability of photos of the often overlooked historical women, Chabannes worked to create animated drawings that would bring the essence of the leaders alive. In an effort to expand modern understanding of American history and to "spark dialogue about the roles, expectations, limitations, and opportunities for women and girls today," Amelie Chabannes and the UNLADYLIKE team have created a multimedia project involving a mini-series, documentary, books, and educational projects.

Double Portraits And The Fourth Hand (2013)
Again playing with the concept of identity through a philosophical rather than an biographical approach, Chabannes created a series of work that draw focus on the connection of people while highlighting the time-consuming labor that was needed to create the pieces. In this set, she brings forth the concept of a "third identity" that is establish through the physical connection of people. In her work, when two figures are touching, Chabannes chips away at the wall where the drawings are held, creating a undeniable presence that is only visible through the touch, kiss, and embrace of the pictured people. However, this "vandalism" of the wall, creates a fourth identity, the artist. Chabannes refers to this fourth identity as "The Fourth Hand," calling out to art historian Charles Green’s book The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, and bringing up the philosophical question of the role of the artist.

My Portrait of Your Identity (2008)
In 2008, Chabannes created thirty small-scale self portraits to discuss "the mutable, contradictory and often fragile state of individual identities." In Collaboration with Brazilian video artist, Antonia Dias Leite, Chabannes paired her drawings Dias Leite's recorded interviews where the artist inquires on people's concept and fluidity of identity. As the video plays, Chabannes alters their portrait adding mutations to their faces and figures while the subjects simultaneously change their opinions on the topic.

Art Style
The art of Amelie Chabannes is often characterized by delicate lines, complimented by colored graphic elements defined by a white ground. She also uses Biomorphic shapes, tangled lines, and topographic elements coupled with historical myths and fantastical references. Amelie mentions that she never draws conventionally, free hand on any panel. She first, chooses a document, typically a historical performance from protagonists, then create's a first drawing of the document. This then is reproduced by hand with graphite on tracing paper about 20 to 30 times. Once these are done, she then flip's them over on the wall or the panel, and engrave's each detail by strongly scratching the back. This way, she is able to overlap a great multiplicity of the same drawing until she in unable to see the borders between the protagonist, blurring their presence. She then destroy's it with chisels, destroying the contact zone and eventually destroying representational features. As she describes, this is, "A way for me to play with iconoclastic gestures, references, a way to defy the conventionality of the fabrication of a product, a way to talk also about the prohibition of representation (very anchored in recent art history)."

Amelie states that she deliberately demolishes parts of her drawings and sculptures, not only with the intention to recall the archeological protocol, gestures and its metaphoric strength, but also to suppress specific areas where the inseparable collaborators are in physical contact, where stands the third identity they created. Her art is an attempt to challenge and destroy the established icons she chooses which evokes her search for new found expression's. These iconoclastic actions are said to fuel her hope of recalling a long history of prohibited representation while also allowing her to confront the conventionality of the fabrication of an art object.

Regarding her most notable pieces, 'UNLADYLIKE2020', Amelie describes her creative process as incredibly “free” and unfettered. She first makes the portraits on wood panel, which are then scanned for animation. According to Amelie, they are not meant to be literal or even highly representational portrayals; the drawings and animations skew more toward the “poetic and metaphoric.”

Works

 * My Portrait of Your Identity
 * untitled, 2015
 * ...And Lucky Grease to Whalers #7, 2014
 * Bride of The Wind #2, 2010
 * [add more works here https://www.artsy.net/artist/amelie-chabannes]