Constructions

Multi-media works by Hana Bleue Chaussette

Seeing is Believing #experimentalart, #newportraiture, #contemporaryportrait, #seeingisbelieving Installation about the subjective memories of the human mind as a tourist, mixed media, 2017-2018
Visionary #thevisionary, #paintingassculpture, #newportrait, #experimentalportrait, #experimentalart Rotating sculpture as Greek column including every pair of eyeglasses subject wore in his lifetime, interior, 2017
Zeitgeist 1 Installation that explores different forms of portraiture using painting,reference to Chinese burial paper house and interior sculpture and flashdrive#zeitgeist, #self-portrait, #artistselfportrait #hanableuechaussette, #newportrait, #ex
Chayim #conceptual portraiture, #conceptual art, #triptych, #familyportrait, #memory, #jewish diaspora, #contemporarypainting, #contemporaryart, #conceptual art, #contemporary artist #objet trouve Triptych painting imagining the life journey of Jewi
Floors I have Crossed #contemporaryportrait, #contemporaryart, #montage, #portrait Photomontage created after 90 day walkabout in Europe finding the common denominator between all cultures
Beloved #conceptual portraiture, #contemporary artist, #newportrait, #memory #contemporyart Oil painting on board with mirror, ribbon and text tells the story of enduring love between a husband and his wife.
Epic, or Ode to William the Conqueror.JPG
Hasamu #Japaneseportrait, #newportrait, #contemporaryart, #contemporaryportrait, #artasartifact #foundobjects, #objettrouvé Using found objects, this sculptural painting tells the story of an old Japanese folk tale Ubasute to convey the uncomfortabl
Shinjinrui, or New Breed #contemporaryportrait, #contemporary art, #japanesesculpture, #newportrait, #conceptual art Painting on Japanese pilgrim’s bamboo hat depicting the new generation of Japanese inspired by Edo Period ceramic bowl, 1988

These works are half paintings, half sculptures, inspired by text that is usually visible but sometimes embedded. The first “constructions” originated in Japan (1986-1989), inspired by the demolition of a Japanese friend’s old childhood home. The night before, Chaussette telephoned her friend and came over to rescue everyday objects in Japan: sliding paper windows and doors, ceremonial table altars or sanbo, an abacus, a pilgrim’s straw hat, etc. These became the “canvas” for Chaussette’s work about Japanese life, from the traditional to the avant-garde. 

Many of the works contain objects such as “The Visionary” which holds every pair of eyeglasses the artist’s father wore during his 86 years on earth, and “Zeitgeist I”—a self-portrait conceived as a body which was inspired by the traditional paper houses that the Chinese burn at funerals.

The mosaic or quilt-like works, “”Epic of Ode to William the Conqueror,” and “Floors I have Crossed,” document the artist’s 90 day walkabout through 9 countries in Europe, while “Seeing is Believing,” employs two recurring visual themes of Chaussette’s career—-the building blocks of Japanese and Chinese written languages, and memory. The work shows how foreigners quickly form judgments about what they see—-whether true or imagined. These form a lasting memory that can persist forever.