Assiegee Painting

My artistic practice is similar to that of a detective who searches, scrutinizes, and assembles clues through a voyeuristic gaze. The pieces created spread naturally from one medium to another: painted textiles, writing, ceramics, drawings and videos come together and intertwine to echo each other within her installations. Identity, sexuality and labor are central subjects in my practice, which she nourishes with theory, cinema, literature, psychology and social media. Her works focus on belief systems that legitimize power relations. Her current interests predominantly deal with the relationship between the phallocentric capitalist society, which knew how to oust feminine knowledge, and bodies which she seems as simultaneously rebel and humiliated. H. Delègue develops a work of gleaning and reappropriation of materials soaked in domestic stories, which involves an archiving process by accumulation of fragments and by copy-paste operations. It follows a phenomenon of rotation of the materials which creates a very economic, even precarious practice without any hierarchy of mediums. The textiles she uses, including handkerchiefs, embroidery and canvas bring to the surface narratives of tensions and behaviors of docility. Attaching elements and making them coexist with each other is for her a gesture of reparation. The textiles are treated like epidermis, sometimes bruised, sometimes scarred. To achieve this epidermal dimension, H. Delègue also uses the video image, with which it is possible to retrace the course of a gaze on a surface. Once re-assembled, superimposed or juxtaposed, the elements touch, then suddenly detach, reinforcing the idea that the notion of living together seems to be suspended.