Danielle Aspis has chosen to document life through a playful theatricality, transforming the spaces of production, creation and reception into places of aesthetic research, delimited by digital modalities. His space of production is life, and everything can be a pretext for innovative thinking that materializes either in the form of writing or in the form of original artistic works. His creative space is his mental space, influenced by his theoretical and artistic culture. Her reception space is the gallery, social networks and her website.
Her influences are rich and varied; from primary school onwards she has participated in a programme that offers students a visit to a museum once a week. Then, as a teenager, she attended theatrical performances directed by Ariane Mnouchkine, and on her return from her study trip to Jerusalem, she became a stage photographer, photographing the productions of Daniel Mesguish (among others). She also became interested in Peter Brook, attending his performances and reading his writings. Her research on colour comes from her encounter with abstract art; she is particularly fond of the works of Karel Appel and Jackson Pollock. She also considers humanist photography as one of the most important productions of the 20th century, while analysing its historical and theoretical aspects, and going beyond, in her personal work, the problematic and paradigm of “it has been”.
So there is a paradox: this does not mean that she completely refutes the photographic technique that produces the “it has been”, but she goes beyond this approach by a serial experimental and exploratory work on the formal and chromatic variations made possible by digital software. This leads to dematerialized, abstract or fictional images, against the usual commercial practices, in order to bring to life an imaginary world shaped by her rich research and experience around Photographic Art and Contemporary Art.
His work has thus been oriented, during the confinement, towards Digital Art, which has opened up new, unsuspected and almost magical territories where classical discourses can be reconsidered from new angles. Theatricality, precisely, where space becomes more important than historical temporality, as if, with the digital, we had passed from a logic of historical temporality to a logic of spatiality. Spatiality that is often virtual, where modalities define limits that generate productions. Digital modalities allow, through technology, notably Photoshop, to tend towards a poetisation of space and to propose an embellishment associated with a dialogue on the stakes of today’s Art. This also raises the question of survival through an Art that wants to be singular to propose an optimistic vision in perseverance and Altruism.
Art is a playground that embellishes the world or deconstructs it: Danielle Aspis has chosen embellishment. As a digital artist, she composes with the abstract and the fictional, using the extended functionalities of Photoshop software. Her research opens up unsuspected territories through which she documents life with a playful theatricality.
Danielle Aspis has also been a photographer for over 30 years. She began her career by making theatre reports, then her work turned towards studio work (portraits and objects), and events. At the same time, she pursued her plastic and artistic research by exhibiting her personal work (Paris, Ile de France, Vichy) and broadened her theoretical and historical knowledge through university studies. It is through this path that she builds her theory of action, by approaching the image through theatricality where the space of play is declined in three spaces: the space of production, the space of creation and the space of exhibition. These are transformed into places of aesthetic research, delimited by artistic modalities.
Danielle Aspis holds a Master’s degree in Science and Technology (1995) and a DEA in Aesthetics (1998) from Paris VIII, a PhD in History and Civilization from EHESS (2014) and a DU in Suicidology from the University of Paris Descartes (2019). She has studied all aspects of photographic practice, from artistic practices to commercial practices, including scientific photography for her thesis. With this academic and field background, she is focusing during confinement on new steps in her work by creating Digital Art.
Suicide attempters, her father was a photographer and her sister a journalist, and it is also in the affect that she drew her resources, like a constantly renewed homage, where action takes precedence over melancholy. Thus, her research in Suicidology, at the end of which she wrote two documented articles, enabled her to open up to a social problem of public health, by co-creating, with Simon Aspis, her brother, the Esther-Lumière association (https://www.esther-lumière.com). She invests differently in her relationship with others, by advocating an art therapy approach for people suffering from suicidal thoughts or pathologies.
Aware of the challenges of Art today, Danielle Aspis seeks to renew thought and creation through committed works that ask the question of survival through Art. Survival in the face of crises that aggravate our distress, but which can only be overcome by dynamic action combining optimism and perseverance.
2019: University Degree: “Suicidology: Understanding, Assessing and Preventing Suicidal Risk in Adolescents and Adults”.
Faculty of Medicine Paris Descartes, under the direction of Fabrice Jollant.
2014: PhD thesis at the Ecole des Hautes Etudes en Sciences Sociales (Discipline: History and Civilizations) under the direction of Jean Dhombres. “Methodology of scientific imaging based on cases from objective photographic techniques and a last contemporary case where the image takes back a freedom. The chronophotography of Etienne Jules Marey, radiology by X-rays, the photographic image detecting uranic rays and nanosciences”.
1998: DEA at the University of Paris VIII (UFR Arts, Department of Plastic Arts) under the direction of André Rouillé. “Theatricality in contemporary photographic works”.
1995: Master’s degree in Science and Technology at the University of Paris VIII (UFR Arts, Photographic Image Department) under the direction of André Rouillé. “Is the Work of David Tartakover only an exegesis of History?” followed by “Towards a photographic practice of the installation”.
DANIELLE ASPIS, Artiste Numérique
Décembre 2022: POP UP STORE à l’Hôtel Le grand quartier et au Restaurant Le Solis, dans l’Hôtel Le Renaissance, Paris.
2022: Version anglaise de mon site artistique, lancement sur la plateforme Métara de NFT, et édition d’un poster.
2021: Exposition à la Galerie Mona Lisa, Paris. 2020: Lancement du site artistique: https://danielleaspis-artiste.com
2019: Création de l’Association Esther Lumière: www.esther-lumière.com
2021: Revue Open Eye de la série Shoes, Histoire de famille, 2015-2020.
2020: Articles: “Suicidalité de l’adolescent à l’étudiant, pour une prévention des risques étendues” et “Prévention du suicide, une priorité de santé publique ” co-écrit avec Simon Aspis, à lire sur le site https://www.esther-lumière.com
2015: Le Monde Diplomatique: Illustrations de trois articles avec trois huiles sur toiles de la série Enfances, 2005.
1993-1995: Revue “Le Voyeur”, articles et photographies.
CENTRES D’INTÉRÊTS & ARTISTES PRÉFÉRÉS:
Art numérique, Art Contemporain, Théâtre, Musique, Philosophie, Natation & Karel Appel, Cindy Sherman, William Eugene Smith.
Site Internet : https//danielleaspis-artiste.com
Instagram : danielleaspisartiste
2021: Exposition personnelle à la Galerie Mona Lisa, Paris. 2019: Exposition collective à la Mairie de Boulogne Billancourt, série Abstraction Désertique, 2019.
2008: Exposition personnelle, huiles sur toile, Vichy.
2005 & 2007: Salon des artistes sévriens, Sèvres, peintures à l’huile.
2005: Restaurant Le Stade, Paris, peintures à l’huile.
1996: Biennale de la photographie, Herten, Allemagne, photographies de la banalité grands formats.
1994-1995: Mission Photographique du Conseil Général de Seine Saint Denis, sur le thème Architecture, exposition collective; sculptures photographiques.
1993: Collectif Image, exposition collective à La Forge Paris, installations photographiques.
1993: Exposition personnelle à l’INSEAD, Fontainebleau, techniques mixtes.
1992 & 1993: Fête de la Jeunesse, Paris, photographies.
1992 & 1993: Salon des Artistes français, Paris, photographies. 1987-1991: Ecole Nationale des Arts et Techniques du Théâtre, Cercle Bernard Lazare, Théâtre Gérard Philippe, Théâtre Renaud Barrault, Paris et Saint Denis, photographies de théâtre.
2019 : Diplôme d’Université, Paris, “Suicidologie : Comprendre, évaluer et prévenir le risque suicidaire chez l’adolescent et l’adulte”, Faculté de Médecine Paris Descartes, sous la direction de Fabrice jollant.
2014 : Ecole des Hautes Etudes en Sciences Sociales, Paris. Doctorat en Histoire et civilisations, sous la direction de Jean Dhombres : “Méthodologie de l’imagerie scientifique à partir de cas issus de techniques photographiques objectives et un dernier cas contemporain où l’image reprend une liberté. La chronophotographie d’Etienne Jules Marey, la radiologie par les rayons X, l’image photographique détectrice des rayons uraniques et les nanosciences.”
1998 : Université de Paris 8, Saint Denis, DEA Esthétique, Technologies et création artistique, UFR Arts, Département photographie et multimédia sous la direction d’André Rouillé : “La Théâtralité au sein des œuvres photographiques contemporaines”.
1995 : Université de Paris 8, Saint Denis, Maîtrise des Sciences et Techniques, UFR Arts, Département Image Photographique, sous la direction d’André Rouillé : “L’œuvre de David Tartakover n’est-elle qu’une exégèse de l’Histoire ?”, suivi de “Vers une pratique photographique de l’installation”.
LANGUES VIVANTES : Anglais, Hébreu.
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Documenter la vie par une théâtralité ludique en transformant les espaces de production, de création et de réception en lieux de recherche esthétiques, délimités par des modalités artistiques.