Memories are often fantasized images of a “real past” where photographic cliches become the source of these mental constructs.
The meaning of my work is rooted in documentation, although the end result is always fiction. Thus, I use archival footage as material which I alter digitally. This physical transformation of the image leads to a distortion of memory.
At the centre of all my projects and creative protocols is repetition. The use of the same algorithm to taint the image, the same gestures to scan, copy/paste/move when I work without using generative methods are perfect examples.
Repetition as a tool allows me to have a critical look at our perceptions of the “same” and, by extension, memory.
I am attentive to the “glitch” movement, the alteration of a digital image by mistake. My images are constructed with the same aesthetic, drawing also on collage techniques and digital photomontages.
This gives me a greater formal and symbolic freedom that allows me to free myself from the classic conventions of the photographic medium.
I push my images outside of their traditional “frame”. By “falsifying” them, I seek to dispossess them of their “moment”.
As noted by the Azerbaijani artist Faig Ahmed, “in cyberspace nothing is impossible.” I use this freedom to fight against the “clichéd moment”.
Claire Burelli studied at the UQAM School of Design. Her works have been exhibited in France, the United States, and Canada. She regularly collaborates with magazines and fanzines from around the world.
Burelli is an experimental artist whose work can be gentle, as well as dark. Her projects focus on memory and identity.