fanny allié

Growing up in the South of France and influenced by my mother and grand-mother’s sewing, flea market scavenging and constant reuse of materials, my textile and mixed media work is inspired and directed by remnants, refuse, lost and overlooked elements of daily life. My work examines the relationship between internal landscapes and discarded materials focusing on these items that we exclude and separate from us on a daily basis, also highlighting the connection between refuse and the perishable nature of own body. I am interested in examining our relation to the world through waste, which allows me to reflect on ecology and on an alternative economy where the discarded, soiled, fringed and aged replace the new and the clean.

My work is also a study of the spaces we inhabit, starting with the body, the first place that contains us. Born from personal and collective experiences, my textile-based pieces create a shared mythology of the spaces we inhabit daily.

Using almost exclusively found fragments and used materials (fabric, torn garments, small objects found on the street, my own clothing), I assemble the various materials in relation to each other in a combination of accidents and intentions. These materials and objects that we no longer want, that we leave behind, retain the traces of our lives, therefore becoming testimonies. They bear witness to family, cultural, generational and collective narratives, constituting the history and the fabric of a place. I am also interested in the question of what is left of objects and materials when they have lost their function and worth and what we can do with them. I also want to make visible the connection between the abandoned object and the subject that inhabited it, the object that was a part of the subject and that is now outside of it.

The stains and fragments are all given a specific role in the overall composition, creating a rhythm of hanging elements, a choreography of gestures and body positions. The figures live within uncertain landscapes, hanging by a thread or on the verge of falling; they slowly fade and merge with their environment, bordering on abstraction. They become the substance of the city that relates to the found materials I collect. Both figures and architectures seem to be collapsing simultaneously. Various movements and tensions inhabit these emotional landscapes: inside/outside, soft/hard, relief/flat, precious/worthless, abandoned/chosen.

In conversation with my solitary studio practice, which is driven by the handmade process, I develop site-specific and community-based public art projects. I intend the public sculpture and its surrounding to become a place of social hangout where participants and the audience may get to meet and interact with each other. The human figure, with a particular interest in its outline or trace, is at the core of my public work and play with ideas of memory and the mark we leave on places and others.