The work of Camille Henrot, who is best known for videos and animated films combining drawings, music and occasionally scratched or reworked cinematic images, blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the ‘other’ and ‘elsewhere’ in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist’s impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures entitled Endangered Species, for example, the artist has created objects inspired by African art using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In her work, Henrot thus questions mental resistances and the past’s resonance, whether it draws on myth or on reality.
Camille Henrot studied at the École nationale supérieure des arts décoratifs in Paris and assisted Pierre Huyghe in summer 2001. While producing her first videos, she worked as graphic designer in animation film and advertisement.