About

I am a fine arts student and this page consecrates a selection of works I have made these two past years, exhaustive selection always submitted to changes and erasures.. I am french and live in the Netherlands. gaelle.largilliere@gmail.com

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with jolie Ekin on a dark winter day

“the country where it was always NOW”

(even though it is an internet compression,  You can watch the vidéos in HD, click on the wheel on left and choose HD simply.)

( This video is part of an installation - though as I cannot invite you in a forever box to experience it as I wished, Note that it is meant for being LOUD sound and should be rather intimate viewing, so please turn off the light, approach the screen, and listen. )


This woman follows a secular tradition to accompany funerals with her complaint songs, this time she was to cry her own grief.

The weeping of women accompany the view of the sky, in a white rectangle you are watching her disappear and you will forget.
 

Gaëlle Largilliére 2013

“I love all your deads”,

(even though it is an internet compression,  You can watch the vidéos in HD, click on the wheel on left and choose HD simply.)

Part of an Installation, PLEASE turn on speakers if you wish to really see this video, listen and let go.

(Subs in french)

A new video I finished these months

shot in the Albanian golden autumn,

Gaëlle Largilliére - 2013

” Plus haut “


Ongoing project

(even though it is an internet compression,  You can watch the vidéos in HD, click on the wheel on left and choose HD simply.)

” Plus Haut “

” Plus Haut “

” Plus Haut “

“Bile Bleue, Lumière et Sang noir”

 

(costume - handmade candle holder  – handmade flickering rectangular box – bottles of milk and black water leaking through tubes.)

 

 I found in this rectangle of paper we name photography a kind of  enigma, “why is all mean of human representation pictured through a rectangle? ”  When you start looking all arround yourself, more ane more the world is brought up to you via various flickering rectangle : computer screens, tv screens, cinema screens, photographs, bill boards etc…

The symbology of the rectangle is complex as it is an archetypical shape, which for milleniums has denoted a certain harmony, or a certain order in chaos. The four angles shape can remind us of the four seasons, the four ages of life, the four elements ; it is as an idea of cyclical perfection. In japan for example, The number four is also considered as a soldier of Death because of its closed harmony, of its full immersion into materiality.

 

With this performance work “Bile Bleue, Lumière et Sang noir”, I have wanted to recreate emotionnally the anguish that the photograph that I had once seen of my beloved relatives produced on me, and to reenact their presence encapsulated in the black void of the costume and the burning frame… meanwhile the performer is immobile, we are drawn to look at the fluids that are dispersing themselves on the floor, black water mixing with milk, remembering us of the photographic processing stunt, or would it be simply the time that is already fleeting from us ?

 

” Enterrement Dans un Terrain glissant “

” Burrial in a slippery land “



(Film Stills)

the plaster impressions I made of myself have been burried, the purity and the stillness of the white parts frustrated me ; Under the ground they are as well joining the circus and still will live on, untouched, unharmed, unidentified, keeping their story like an unsound secret. Until ?





” Enterrement Dans un Terrain glissant “
” Burrial in a slippery land “

” Enterrement Dans un Terrain glissant “

” Burrial in a slippery land “

” Être comédien… Coulisses et loges, costumes extravagants et scènes de ténèbres, maquillages de pantomime, fards et paillettes… Où est le visage ? Sous ce blanc, sous ce rouge, sous ce brillant ? Pourtant, ces yeux, gris et perçants, fendus comme des gouttes de pluie, ces sortes de larmes, ce sont les tiennes ? Et ces autres yex, sur la scène, ce regard vert qui voudrait tant appartenir au monde, au flot du monde, et qui ne sont réservés qu’aux personnages d’emprunts, aux voix, aux déguisements infinis. Inés a le sentiment d’avoir perdu sans avoir vraiment joué. Elle s’imagine sur ce fauteuil de théâtre, un peu râpeux, un peu piquant au dos, comme une grande Inès adulte, avec son armure d’adulte et un sac à la main, une Inès un peu îvre, un peu îvre de tristesse…”

Valérie Valère  ‘ Eléonore ‘

La Méduse ( Medusa)

A Glimpse of a moment we shared being then strangers

I am holding a mirror and passing through,

the cracks in the soft veil of your smile spell an incantation 

(and this show is is brought to you by ELECTRICITY, Tzz Tzz)