VAM is a politically and socially conscious artist who reflects on the female condition and engages in a personal and universal research project on the construction of identity and, more generally, women in the societies of today.
Moved by the works of Louise Bourgeois, Annette Messager and Nan Goldin as much as by the conditions and paradoxes of the women in her entourage, she explores these inconsistencies in an intimate mode, between violence, rebellion and sensuality.
Co-founder of the TRANSFIGURING fine art photography movement.
Winner of the 2014 Contemporary Art Competition in the Photography Category, Espace Christiane Peugeot, Paris 17.
Represented by the Artkhein gallery.
THE ARTISTIC APPROACH
VAM works on feminine identity, highlighting the distortions between liberation and archaism, contradictions between the apparent emancipation of women in our societies, and the weight of the stereotypes that keep them imprisoned.
VAM explores this discrepancy, carefully blending raw materials such as tin and wire gauze with more fragile fabrics, silk thread, photography, tissue.
She has recourse to a wide variety of techniques, especially photography, digital painting and, more recently, video; she repeatedly resorts to sewing/suturing and misappropriates the codes of decorativeness to create “prettily” subversive works. Embroidery, a typically feminine activity, is used here both to expose imprisonment, mutilation or wounds and express repair and resistance. VAM’s delicate and disturbing universe exposes the uncanny alchemy of a gender both worshipped and bullied, acclaimed and trashed.
Although she sometimes appears to rely on the consensual imagery of feminine charm perpetually imposed on us all, she does so only to manipulate it by including suggestive forms, breaks, openings or words with equivocal meanings.
A black-and-white aesthetic that incorporates areas of red with powerful and engaging symbolic significance. The colour of passion and prohibition, it is also the colour of blood, the blood of women, and the blood of revolution… In VAM’s work, wombs, genitals and laps are divested of their submissiveness and offer a free and collusive take on femininity..
INTERPRETATION OF PHILIPPE BARRIER, PHILOSOPHER
(…) It is obviously pointless to seek to gain an understanding of the mysteries of desire, be they masculine or feminine. It is always paradoxical, essentially with regard to the subject moving to the category of objects, where however it unfolds like an agent, for men or women (or both).
VAM suggests that we break free of the prison of clichés, yet it is inside that very prison that she struggles and frolics. She is funny, ironic, a tease (though not in the sense of a man-teaser), graceful, and occasionally serious.
In her work, femininity speaks, laughs, and weep. Because there is a war being waged as well, and violence – suggested. The same materials are sometimes quintessentially feminine, but redirected, in other terms activated. In this situation women take, women seize. The artist takes the visitor to these little magic boxes to look at paintings and playlets; through these clefts.
VAM sews and unzips in order to enable onlookers to get a glimpse of hidden words, primitive visions. VAM exaggerates submissiveness.
And in the ethereal and concrete subtlety of the metal voiles something resembling feminine liberty seems to appear.