Corie Audette


Once upon a reality, mutant animals inhabited altered environments and dimensions.  These animals had foreseen the change coming in sea and land, from which the cause was of the wayward humans’ span.  In time came life and death, with moments of transition, and from the past wherein they strengthen.  The trees and things made by man that once did matter became an icon, lost or forever altered.  And through these passages of existences, a world of imaginative meaning did once arrive.

   My work illustrates narratives of impacting realms through fragments of changing moments and cultural interpretations.  I try to create art that expressed a serious matter but in an uncanny approach.  I am not trying to force a statement about preserving life exactly the way it is now; I know change is inevitable to this world and it happens all the time, but I simply want to preserve these minute moments of transitions by collecting glimpses into possible realities.

   It is interesting how complicated and important the relationships or experiences between humans, animals and personal artifacts really are.  A lot of my art addresses the progresses and conceptualizations that emerge, such as anthropomorphism, cultural iconography and symbology.  Throughout history, humans tend to evoke animals or inanimate objects as a shadow of our consciousness and a way of configuring the world around us.  The “beings” I create take on the role of this alternate awareness or boundary shifts and have become an entity of veneration by invoking the hybridity between human, animal and artifact.  Some of the contemporary artists who I value for their visionary collation works of religious, animal and human imagery include Kiki Smith, Shahzia Sikander and Leonora Carrington.  I also love the sublime works by Sandy Skoglund and the way she executes a narrative of human impact, conversion and mutation.  My art captures a terrarium-like world similar to these artists, filled with symbolic statements and incarnations of altered creatures or anthropomorphic mergences.

   Many of my pieces also draw inspiration from Non-Western art or the diverse cultural groups from Africa, North America and the South Pacific regions and their belief of imbued sacredness or life-force behind everything.  The art from these cultures exists as an eternal entity with a meaningful, symbolic or iconographic intent to connect with alternate states of being or time.  Not only do I express in my art a sacred connection between humans and nature, I also try to preserve the veneration of the past.  What I found most interesting from studying cultures and art history is the sacredness of life, death, nature and the symbiotic relation we all share.  There is preservation and adaption of these transitional moments; by putting the past in retrospective, there will be a stronger outcome.  Humans have tried to adjust or improve the world around them, but in the end what truly inspires me is how nature always finds a way to survive in their reality and conversion from human impact.

   The ways in which I express this connection between the past and future is through my combination of materials and juxtapose presentation.  The lack of colors contrasted with bright bursts of colors displays both loss and growth of life.  Hollow or transparent subject imagery with solid forms and shapes tells of colliding realms.  I tend to use both natural and man-made materials with ephemeral materials to represent a potential loss with time.  There is a certain composed, memorial quality to my pieces and is treated with delicacy and preservation.  Through structured compositions and sometimes literally suspending works in space, subjects are caught transitioning into another moment of existence; one that is still part of the viewers and at the same time a reality of the past.

   I create my own narratives of specific scenarios or meanings based on events in reality and convey them in my drawings.  I tend to meticulously classify or catalogue and explain the happenings of imaginable realities based on real possibilities.  I want to make viewers question what if this really happened or could happen in some other time or place.  I hope those who truly observe my art will be able to walk away with the same motivation of curiosity.