Chloé Royer (b. 1989) lives and works in Paris. Alum of the Ecole Nationale Supérieure des Beaux-Arts in Paris, FR (’15), she also studied at the School of the Art Institute of Chicago - SAIC, US.


Her works investigates notions revolving around identity. It focuses on the materiality of both bodies and the objects with which bodies interact. 


The body is constantly subjected to classifications: it is understood and administered through the creation of categories. Blurring the boundaries between human, animal and object, she produces hybrid shapes that disrupt conventional taxonomies.


Her sculptures are birthed at the crossroads of the living and the inanimate. They do not « fit » in any category. They draw a lot of inspiration from the ways in which animals use their bodies to communicate: they articulate their surfaces to one another, using a sensory language in perpetual motion. To touch, to caress, to gaze, to rub are gestures that she drew from observing them and that became central to her practice. 


Chloé’s sculptures mobilise both visual and tactile perception. Not only do they question the constraints imposed on bodies, but they also challenge the boundaries established between creative mediums. She likes to play with what we consider to be sculpture, and what is rejected out of this realm and put into that of design. To do so, she uses domestic shapes and frameworks, shifting the sculpture into a functional object, and a functional object back into a sculpture. 


Through this process, spectatorial expectations themselves are being domesticated. By “trying out” her sculptures, visitors inhabit distorted physical attitudes. Interacting with her pieces requires them to either sit, lie, or look at themselves in an unexpected - and often uncomfortable - way. This encounter between flesh and bones bodies and artificial ones ends up creating somewhat of a choreography: visitors become active, shift positions, their movement interrogating conventional sculptural staticity. In the hollow or the reflections of her pieces, they are transformed into real game partners. By creating these postural dialogues, Chloé’s work aims at unleashing the transformative potentiality that lies within physical objects. 

Salomé Burstein