STATEMENT

Heavily inspired by cinema, digital art, and archival imagery, Marine Blehaut’s art is based on AI archives and experimental films. Within the context of memory manipulation, empathy, and the female gaze, her work spans across multiple subjects such as procreation, death imagery, and war.

Using original footage and AI-generated archives, she creates collage films, video fragments, and photo collections. By manipulating real and fake archives, she intervenes in collective memory, creates alternative stories, identities, and rituals, challenging dominant perspectives and redefining our relationship to images and history.

By creating new fragmented narratives, she invites viewers to reflect on the fragile and disjointed nature of archives, and the political choice on how these are displayed, distributed, and used. Considering archives as raw human material, she creates a space for contemporary memories, outside of conventional narratives and outside the traditional role of archival content.

She has made several collections and spaces, firstly with
Ars Moriendi, a generated collection of postmortem imagery, to recreate and interrogate the impact of AI in funeral rituals. The AI Photo collection Newborn Machine is a display of newborn portraits to reflect on the massive pressure on procreation and a reflection about the impact of AI on this subject. Finally, Looking at you, looking at them (LAYLAT) is a collection of AI video fragments, lost archives of women confronting the eyes of the viewer, with dignity and serenity. Her practice is inspired by artists and video artists such as Lee Shulman, Trevor Paglen, Maria Mavropoulou, and Morehshin Allahyari, and filmmakers : Bill Morrison, Harun Farocki, and Christian Marclay.

She regularly participates in global events and panels on the fusion of art and technology. Recent and upcoming exhibitions include “Virtual Reverence” (2024, Elios Art Gallery, Paris) and "AI, My Sparring Partner" (2024, Havas x 1703, Paris).