Camille Blatrix, Rotten to the Core
September 30 - November 26, Ordet, Milan
Camille Blatrix, Rotten to the Core
September 30 - November 26, Ordet, Milan
Camille Blatrix, Rotten to the Core
September 30 - November 26, Ordet, Milan
Camille Blatrix, Rotten to the Core
September 30 - November 26, Ordet, Milan
Camille Blatrix, Rotten to the Core
September 30 - November 26, Ordet, Milan
Camille Blatrix
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Camille Blatrix
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Camille Blatrix
Queen Bee, 2021
Wooden marquetry
25 5/8 x 17 3/4 x 1 inches (65 x 45 x 2.5 cm.)
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Camille Blatrix
Busy Street, 2021
Wooden marquetry
21 1/4 x 16 1/8 x 1 inches (54 x 41 x 2.5 cm.)
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Camille Blatrix
They play We play, 2021
Acrylic resin, wood, printed laminate, led system, electronic component, wooden marquetry
78 3/4 x 78 3/4 inches (200 x 200 cm.); marquetry: 13 3/4 x 11 3/4 x 1 inches (35 x 30 x 2.5 cm.)
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Camille Blatrix
They play We play, 2021
Acrylic resin, wood, printed laminate, led system, electronic component, wooden marquetry
78 3/4 x 78 3/4 inches (200 x 200 cm.); marquetry: 13 3/4 x 11 3/4 x 1 inches (35 x 30 x 2.5 cm.)
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Camille Blatrix
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Camille Blatrix
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Camille Blatrix
Installation view
Pop-up, Andrew Kreps Gallery, New York, NY, 2021
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Standby Mice Station, Kunsthalle Basel, Switzerland
January 17 - March 15, 2020
Les Barrières de l’antique, Foundation D'Entreprise Hermès, Brussels
September 5 - November 8, 2019
Les Barrières de l’antique, Foundation D'Entreprise Hermès, Brussels
September 5 - November 8, 2019
Les Barrières de l’antique, Foundation D'Entreprise Hermès, Brussels
September 5 - November 8, 2019
Les Barrières de l’antique, Foundation D'Entreprise Hermès, Brussels
September 5 - November 8, 2019
Les Barrières de l’antique, Foundation D'Entreprise Hermès, Brussels
September 5 - November 8, 2019
Fortune, Lafayette Anticipations, Paris
February 21 - April 28, 2019
Fortune, Lafayette Anticipations, Paris
February 21 - April 28, 2019
Fortune, Lafayette Anticipations, Paris
February 21 - April 28, 2019
Fortune, Lafayette Anticipations, Paris
February 21 - April 28, 2019
Fortune, Lafayette Anticipations, Paris
February 21 - April 28, 2019
Fortune, Lafayette Anticipations, Paris
February 21 - April 28, 2019
Somewhere Safer, Kunstverein Braunschweig
September 8 - November 18, 2018
Camille Blatrix
Untitled, 2018
Mahogany, acrylic resin
7 x 4 3/4 x 11/16 in (18 x 12 x 2 cm)
Somewhere Safer, Kunstverein Braunschweig
September 8 - November 18, 2018
Somewhere Safer, Kunstverein Braunschweig
September 8 - November 18, 2018
Camille Blatrix
Untitled, 2018
Mahogany
24 x 12 11/16 x 2 in (61.5 x 32.5 x 5 cm)
Somewhere Safer, Kunstverein Braunschweig
September 8 - November 18, 2018
Somewhere Safer, Kunstverein Braunschweig
September 8 - November 18, 2018
Camille Blatrix
Untitled, 2018
Acrylic resin, stainless steel, rubber, air pressure
13 1/2 x 22 1/2 x 7 1/2 in (34 x 22 x 19 cm)
Somewhere Safer, Kunstverein Braunschweig
September 8 - November 18, 2018
On Your Knees, Balice Hertling, Paris
September 26 - October 14, 2017
On Your Knees, Balice Hertling, Paris
September 26 - October 14, 2017
On Your Knees, Balice Hertling, Paris
September 26 - October 14, 2017
On Your Knees, Balice Hertling, Paris
September 26 - October 14, 2017
On Your Knees, Balice Hertling, Paris
September 26 - October 14, 2017
Camille Blatrix
Marine, 2017
Oil on canvas
9 7/16 x 7 1/16 x 3/4 in (24 x 18 x 2 cm)
Camille Blatrix
Amarine, 2017
Silver, resin, inox, rubber, coral, peridot
5 1/8 x 20 1/16 x 8 7/8 in (13 x 51 x 22.5 cm)
Camille Blatrix
Ambird, 2017
Resin, coral, stainless steel, rubber
9 13/16 x 2 x 4 3/4 in (25 x 5 x 12 cm)
Camille Blatrix
Oiseos, 2017
Resin, coral, stainless steel
9 13/16 x 2 x 4 3/4 in (25 x 5 x 12 cm)
Camille Blatrix
Os, 2017
Resin, inox, rubber, paper
7 9/16 x 1 3/4 x 3 1/8 in (19.5 x 4.5 x 8 cm)
Camille Blatrix
Sang, 2017
Resin, inox, rubber, paper
7 9/16 x 1 3/4 x 3 1/8 in (19.5 x 4.5 x 8 cm)
Unview, Bad Reputation, Los Angeles
May 21 - July 7, 2017
Camille Blatrix
Blood, 2017
dyed resin, steel, paper
4 1/2 x 2 x 1 1/4 inches (11.43 x 6.35 x 3.175 cm)
Camille Blatrix
Blood, 2017
dyed resin, steel, paper
4 1/2 x 2 x 1 1/4 inches (11.43 x 6.35 x 3.175 cm)
Camille Blatrix
Skin, 2017
dyed resin, steel, paper
4 1/2 x 2 x 1 1/4 inches (11.43 x 6.35 x 3.175 cm)
Camille Blatrix
Skin, 2017
dyed resin, steel, paper
4 1/2 x 2 x 1 1/4 inches (11.43 x 6.35 x 3.175 cm)
OUVERT LA NUIT - Festival des Lumières, Rome
December 16 - January 31, 2018
Heroe, CCA Wattis Institute for Contemporary Art, Oakland
September 8 - November 19, 2016
Camille Blatrix
Whast, 2016
resin, polyester, paint, inox, silver and electric motor
74 3/4 x 25 5/8 x 27 1/2 in (190 x 65 x 70 cm)
Camille Blatrix
Whast, 2016
resin, polyester, paint, inox, silver and electric motor
74 3/4 x 25 5/8 x 27 1/2 in (190 x 65 x 70 cm)
Camille Blatrix
Soul, 2016
painted MDF, resin, wood, silver, inox, aluminum, plastic
35 3/8 x 15 x 2 1/8 in ( 90 x 38 x 5,5 cm)
Camille Blatrix
Locker, 2016
painted MDF, resin, plexiglass, wood, silver, aluminum, plastic
35 3/8 x 9 7/8 x 7 7/8 in (90 x 25 x 20 cm)
Camille Blatrix
Locker, 2016
painted MDF, resin, plexiglass, wood, silver, aluminum, plastic
35 3/8 x 9 7/8 x 7 7/8 in (90 x 25 x 20 cm)
Camille Blatrix/Franco Vaccari, Andrew Kreps Gallery, New York
April 13 - May 13, 2017
Camille Blatrix
Untitled, 2017
Plastic, paint, stainless steel, silver, plexiglass, anodic silkscreen on aluminum
2 x 16 9/16 x 10 5/8 in (5 x 42 x 27 cm)
Camille Blatrix
Untitled, 2017
Plastic, paint, stainless steel, silver, plexiglass, anodic silkscreen on aluminum
2 x 16 9/16 x 10 5/8 in (5 x 42 x 27 cm)
Camille Blatrix
Untitled, 2017
Plastic, paint, stainless steel, silver, plexiglass, anodic silkscreen on aluminum
2 x 16 9/16 x 10 5/8 in (5 x 42 x 27 cm)
Camille Blatrix
Tears, 2016
wood marquetry, synthetic ivory, aluminum
13 3/4 x 35 3/8 in (35 x 90 cm)
Camille Blatrix
Blood, 2016
wood marquetry, synthetic ivory, aluminum
13 3/4 x 35 3/8 in (35 x 90 cm)
Camille Blatrix
Juice, 2016
wood marquetry, synthetic ivory, aluminum
13 3/4 x 35 3/8 in (35 x 90 cm)
No School, Mostyn, Llandudno, Wales
July 18- November 1, 2015
No School, Mostyn, Llandudno, Wales
July 18- November 1, 2015
No School, Mostyn, Llandudno, Wales
July 18- November 1, 2015
Camille Blatrix
No school (love tape and everyday shit), 2015
Wood marquetry, aluminum, sterling silver, enamel on aluminum, Ipad, electric cable
51 1/8 x 43 1/4 x 23 5/8 in (130 x 110 x 60 cm)
Camille Blatrix
No school (love tape and everyday shit), 2015
Wood marquetry, aluminum, sterling silver, enamel on aluminum, Ipad, electric cable 51 1/8 x 43 1/4 x 23 5/8 in (130 x 110 x 60 cm)
No School, Mostyn, Llandudno, Wales
July 18- November 1, 2015
Camille Blatrix
Youth, 2015
pencil on wall and wood
23 5/8 x 31 1/2 in (60 x 80 cm)
No School, Mostyn, Llandudno, Wales
July 18- November 1, 2015
Camille Blatrix
Eagle vs Dolphins, Graduation Day Speaking (feedback), 2015
wood, wood marquetry, sterling silver, synthetic ivory
7 1/8 x 13 3/4 x 3 1/8 in (18 x 35 x 8 cm)
No School, Mostyn, Llandudno, Wales
July 18- November 1, 2015
Camille Blatrix
Tosh 4, 2015
wood, stainless steel, synthetic ivory, c-print on paper, rubber
6 11/16 x 23 1/2 x 7 7/8 in (17 x 60 x 20 cm)
Camille Blatrix
Tosh 2, 2015
wood, aluminum, synthetic ivory, resin
Camille Blatrix
L’époque, les humeurs, les valeurs, l’attention. 16ème Prix Fondation d’entreprise Ricard
September 10 - October 31, 201
Camille Blatrix
Still, 2014
Aluminum, silver, wood marquetry, led screen
35 3/8 x 19 5/8 in ( 90 x 50 cm)
Camille Blatrix
Still, 2014
Aluminum, silver, wood marquetry, led screen
35 3/8 x 19 5/8 in ( 90 x 50 cm)
Camille Blatrix
Still’Elle, 2014
aluminum, silver, wood and reconstituted ivory
17 3/4 x 2 3/4 in (45 x 7 cm)
Camille Blatrix
La Lettre d’Alison pour Victor, 2013
Silver, Rosewood of Rio, Parisian Maple, Bronze
6 1/4 x 5 1/8 x 7 1/8 in (16 x 13 x 18 cm)
unique
Un Ticket Pour La Suite, Balice Herling, Paris
February 13 - March 29, 2014
Camille Blatrix
NiNa, 2014
mahogany, wood marquetry, aluminum, silver, glass and tamper-proof screws
34 5/8 x 21 5/8 x 10 5/8 in (88 x 55 x 27 cm)
Camille Blatrix
NiNa, en grève, 2014
aluminum, silver and tamper-proof screw and audio record
5 1/2 x 5 1/2 x 1 1/8 in (14 x 14 x 3 cm)
Camille Blatrix
Damien G., 13 ème voyageur, 2014
Wood marquetry, resin, silver and reconstituted ivory
4 3/4 x 10 1/4 x 3 1/8 in (12 x 26 x 7,8 cm)
Camille Blatrix
Damien G., 13 ème voyageur , 2014
Wood marquetry, resin, silver and reconstituted ivory
4 3/4 x 10 1/4 x 3 1/8 in (12 x 26 x 7,8 cm)
Un Ticket Pour La Suite, Balice Herling, Paris
February 13 - March 29, 2014
Un Ticket Pour La Suite, Balice Herling, Paris
February 13 - March 29, 2014
Camille Blatrix
First class ticket, 2014
Wood marquetry
7 1/8 x 3 1/8 in (18.2 x 7.8 cm)
Camille Blatrix
First class ticket, 2014
Wood marquetry
7 1/8 x 3 1/8 in (18.2 x 7.8 cm)
Victor: il suo cuore vuoto al completo, Gasconade, Milan
May 23 - June 22, 2013
Camille Blatrix
il suo cuore vuoto al completo, 2013
Aluminum, Silver, Parisian Maple
53 7/8 x 11 3/4 x 11 3/4 in (137 x 30 x 30 cm)
Camille Blatrix
il suo cuore vuoto al completo, 2013
Aluminum, Silver, Parisian Maple
53 7/8 x 11 3/4 x 11 3/4 in (137 x 30 x 30 cm)
Camille Blatrix
Butterfly, 2013
rio rosewood, parisian maple, silver, blue galalith
2 3/8 x 3 7/8 x 1 1/8 in (6 x 10 x 3 cm)
Camille Blatrix
Butterfly, 2013
rio rosewood, parisian maple, silver, blue galalith
2 3/8 x 3 7/8 x 1 1/8 in (6 x 10 x 3 cm)
Camille Blatrix
22h22: Alison Filante (Falling Alison), 2013
Aluminum, silver, blue galalith
90 x 3 cm
Stainless steel, parisian maple, glass,
4 x 4 x 10 cm Issey Miyake watch, wallpainting, variable dimensions
Camille Blatrix
22h22: Alison Filante (Falling Alison), 2013
Aluminum, silver, blue galalith
90 x 3 cm
Stainless steel, parisian maple, glass,
4 x 4 x 10 cm Issey Miyake watch, wallpainting, variable dimensions
Camille Blatrix
22h22: Alison Filante (Falling Alison), 2013
Aluminum, silver, blue galalith
90 x 3 cm
Stainless steel, parisian maple, glass,
4 x 4 x 10 cm Issey Miyake watch, wallpainting , variable dimensions
Camille Blatrix lives and works in Paris. Blatrix’s sculptures present themselves as artifacts from a near future, emulating the forms of everyday objects while obscuring their own purpose. Machine-like in their appearance, the surfaces of his works disguise the artist’s labor, as each sculpture combines elements that are industrially fabricated with those that are meticulously handcrafted using a variety of traditional techniques, such as wood marquetry. In his practice, Blatrix interjects coded personal and cultural references, allowing seemingly anonymous objects to record fleeting emotions and interactions. In 2020, Blatrix’s work was the subject of a solo exhibition titled Standby Mice Station at Kunsthalle Basel, Basel, which will travel to CAC - la synagogue de Delme, Delme, France in Spring 2021. Past solo exhibitions include: Les Barriéres de l’antique, La Verriére, Fondation d’entreprise Hermés, Brussels, 2019, Fortune, Lafayette Anticipations, Paris, 2019, Somewhere Safer, Kunstverein Braunschweig, Braunschweig, Germany, 2018, and Heroes, CCA Wattis Institute for Contemporary Arts, San Francisco, 2016, among others.
Camille Blatrix creates environments filled with sculptures and inlaid objects whose origins of fabrication often remain ambivalent: his artworks emerge as hybrid beings/machines that aim to synthesise abstract ideas and intimate romances, artisanal techniques and a fascination for high-tech design, a dreamlike imagination and hermetic materiality. He creates incoherent objects, with indeterminate functions that nevertheless give rise to an impression of déjà-vu.
Modern Art is pleased to announce an exhibition of new works by Sanya Kantarovsky and Camille Blatrix at the gallery’s Bury Street space. This marks the first collaboration between the two artists.
“Les Barrières de l’antique (The Barriers of Antiquity)” is the first solo exhibition in the season “Matters of Concern | Matières à panser”. Artist Camille Blatrix immerses us in the world of artisanship, and fiction. The title is an ironic expression used by latterday artisans (albeit unverifiable, and possibly invented) that refers to the a priori insurmountable barrier of perfection set by the works of Antiquity. Implying as it does an examination of the nature and values of art and artisanship, the concept resonates powerfully with the core beliefs of the Fondation d’entreprise Hermès, as a committed supporter of creative people and a partner in the promotion and transmission of creative expertise. With this in mind, La Verrière’s curator Guillaume Désanges has invited Camille Blatrix – together with his father, a painter turned boat builder – to devise a project shaped by the imprint of their highly stimulating, twofold sensibility.
For this exhibition at Lafayette Anticipations, his first large-scale show in Paris, Camille Blatrix was invited to occupy the top level of the glass exhibition tower, designed by Rem Koolhaas. This transparent space overlooking the surrounding rooftops has something of a penthouse feel, where power and opulence have reached their limit, and must be replaced by other conquests, a possible redemption, or a spiritual, mystical quest. At the centre of this peculiar interior, an ambiguous sculpture — suggesting a succession of high-tech kitchen islands — presents the fundamental elements of life (water, fire, air, etc.) like as many stages in some unknown rite of passage. The space is also dominated by an imposing marquetry panel; a decorative, almost baroque element which hints at a possible presence. As a counterpoint, an influx of light disrupts this static fetishization of objects at regular intervals.
For his project Somewhere Safer, Camille Blatrix modifies Kunstverein Braunschweig’s Remise, reorganizing the spatial situation with architectural interventions. As a harbinger of the show, the entrance area, that is usually perceived en passant, is transformed into a nostalgic waiting room. Sculptures, paintings and a “soundtrack” produced on-site are condensed into a tense, at times menacing atmosphere of waiting. Each element testifies to the fear and anticipation of an imminent event, whereby the expectation and accumulated exertion that also arise from the manipulated air circulation affect the human body. Candlelight and ears of corn recur as symbols of live/decease and carry a sense of fruitfulness, sexual lust, and dedication. Shielded by handcrafted wooden pieces, only parts of the Remise are accessible, while other rooms remain hidden in the gleaming light. This way, Somewhere Safer presents itself as an ambivalent oasis—a private retreat that suggests protection from an outside world and a feeling of anxiety and inner strife at once.
Everything is going to be fine sets out to examine the emotional charge of technology. In a divergent set of artworks spanning across mobile phone, sculpture, digital video and performance, each artist engages a technological object detached from pure utility, leaning towards a feeling-driven interaction with its user. At times caring, comical, or hostile, the depicted machines take on human-like personalities by serving as containers or channels for a variety of emotions: what artist Camille Blatrix has called “emotional objects.
I've always been fascinated by hold-ups, burglaries and the like. This fascination probably comes from the fact that I find them rather romantic, but it might also be connected to the fact that I was born in a southern suburb of Paris where Diego Ferrera, a local contemporary criminal hero, grew up. What excites me in all this is the allure of desire, the thirst for action, the thrill of escape, and finally, the way the villain thumbs his nose at society. I imagine my old friend Camille shares the same interest in these kinds of robber-hero stories; the theme certainly forms the focus of his exhibition at Taylor Macklin, which presents a situation that might have been contextualised beforehand by poetically taking the exhibition space hostage. If you look around you, everything leads you to that conclusion.
