Émilie Ferrat

(b. in Paris, 1992)

(FR) +33 (0)6 18 88 74 29‬
(NL) +31 (0)6 17 43 72 49

Extended portfolio and CV available .

Currently living and working between Paris and Amsterdam.

Deep State

Catalogue, signage and ephemera for Deep State, De Ateliers’ 2017 end show. Designed with Sam de Groot.

Puzzle Series (2)

The ongoing Puzzle Series is an investigation of the support of the puzzle as the ultimately constructed image within a climate of exponentially increasing image production, ingestion and circulation. Stock images of mountains were used as support for the puzzles and were screen printed in CMYK on opaque white plexiglass. The different source images are fragmented in pieces and reassembled as new landscape compositions.

Puzzle Series (2) was on display during Signals from the Periphery, an international graphic design event initiated by Elisabeth Klement and Laura Pappa. The project took place from July 1 to August 13, 2017 at the Tallinn Art Hall in Estonia.

The Paint by Number Museum

(In collaboration with François Girard-Meunier.) The Paint by Number Museum is an installation which is the result of a one year investigation within the PbN field. Its intention is to stress the possibilities of subversive Paint by Number practices. The exhibition consists in a range of approximatively 50 paintings — partly collected, partly self-produced, a video work (8’25”) and three vitrine tables displaying collected artefacts, books, and research material. We see the PbN Museum as a negotiation between “authentic” objects of documentation and fictional artefacts. The work was also presented as a half an hour lecture which we gave at the occasion of the Brno Biennial’s symposium.

The Paint by Number Museum was part of the 27th Brno Biennial’s OFF Programme 2016, which is conceived as an open space for workshops, interventions and other graphic design presentations. The project was made possible with financial support from the Stimuleringsfonds Creative Industries and the Moravian Gallery in Brno.

Naïve Gossip Theory

Naïve Gossip Theory is an essay by Gianmaria Andreetta (Gratuated student from Critical Studies, Sandberg Instituut). The publication was launched at San Seriffe in May 2016. NGT is available at San Seriffe in Amsterdam and at Section 7 Books in Paris.

Language: English

Pages: 80

Size: 13 x 18 cm

Printing: Risograph and offset
Binding: Uncoated softcover
Edition: 80 copies

© Gianmaria Andreetta, 2016

Studium Generale 2015

PLAY PAUSE NEXT

ARE YOU ALIVE OR NOT? Looking at Art through the lens of Theatre
Visual identity for Studium Generale 2015, theory program of the Gerrit Rietveld Academie.
In collaboration with Ozgür Karacan and Viktor Nyström.

On recordings…
… An audiobook essay about tape recording practices and narrative tricks

Graduation thesis guided by Louis Lüthi and recorded as an 70’95” audiobook.
Silkscreen and embroideries on white cotton pillowcase, mp3 recordings. (2015)

Puzzle Series

CMYK silkscreens of sand dunes stock images on 3mm opaque white plexiglas.
Laser cut as puzzles and assembled as re-constructed landscapes. (2015)

DEBORAH BOWMANN

Posters

a) Blue curtains, black coffee

b) Suspended goods, delicate holes

c) Noblesse Oblige

d) L’homme nu

e) Wet desks, flooded numbers

f) Grand Salon

Visual identity and poster series for the Bruxelles (formerly Amsterdam North) based art space DEBORAH BOWMANN, run by artists Amaury Daurel and Victor Delestre (gratuated students from Dirty Art, Sandberg Instituut). The posters function as an extension of the gallery’s commentary on the role of visual communication and commercial strategies within the fields of art and design. The series includes the following shows:

a) Blue curtains, black coffee (Woodprint on Munken Print White, 2014)
b) Suspended goods, delicate holes (Silkscreen on poster paper, silkscreen on white cardoard, 2015)

c) Noblesse Oblige (Silkscreen on 5 mm flexible PVC sheet, plastic letters, transparent stickers, bird seeds, 2015)
d) L’homme nu (Vaccum packed A3 silver frame, silver silkscreen on digital print, 2015)

e) Wet desks, flooded numbers (Silkscreen on white paper bag, 2015)

f) Grand Salon (Silkscreen on white linoleum, 2015)

The posters are available for purchase on the gallery’s webshop or on .

Catalogue

The catalogue was launched in June 2015, at the occasion of the Sandberg Instittut Graduation Show.
The publication is available at San Seriffe in Amsterdam or .

Language: French, english

Pages: 56

Size: 21 x 27 cm

Printing: Risograph, silkscreen and digital print
Binding: Black plastic spirals, white linoleum cover
Edition: 36 copies

Ceramics with Émilie / Ceramics with François

(In collaboration with François Girard-Meunier.) Video work (19’47”) re-staging a series of re-edited conversations about- and-while making clay figures. Ceramics with Émilie / Ceramics with François was nominated for the Gerrit Rietveld Academie Design Award (S)elected 2015. The work was exhibited as an installation at Castrum Peregrini during October 2015 in Amsterdam.

Nothing works but that works just fine

Catalogue and visual communication for the exhibition “Nothing works but that works just fine” (2015).

A group show with artists Nicola Arthen, Stephan Blumenschein and Lieven Lahaye held in Labor Gallery, Cologne.

Poster series

A

B

C


A

EXT.

SHE GOES OUT ON THE BALCONY AND ROLLS A CIGARETTE. SHE PRESSES THE LIGHTER AGAIN AND AGAIN. AS IT DOES NOT WORK, SHE REMOVES THE CIGARETTE FROM HER MOUTH. SHE LOOKS DOWN TO HER NEIGHBOUR’S GARDEN. THE THREE SUNFLOWERS ARE BENDING MORE THAN EVER. THE STEM OF THE WEAKER ONE HAS BROKE ALREADY.


B

CUT TO:

I/E.

THREE FRENCH KIDS ARE LOOKING AT A PARAMOUNT® MOVIE POSTER.

DANIEL:
It’s a Paramount® movie!

KID 1:
Paramount® movies are dumb.


C

CUT TO:

I/E.

BART DE BAETS:
You’re like Sharon Stone in “Basic Instinct” or something.

DIOR® ADVERTISING:
There is a star in every woman.



Wood prints on Munken Print White.
The images were constructed after a script written during September 2014.

Animal Estates, London HQ

Visual Identity and blueprint series for artist Fritz Haeg’s Animal Estates, London HQ. (with Åbäke. Animal Estates typeface by Jonas Meier.)

The Animal Estates London HQ provided a place for activists, architects, artists, designers, engineers, homeowners, and planners to research, discuss, plan, develop, and present initiatives to accommodate native London animals. The project space featured areas for the evolving display of estate prototypes, work stations about each of the 11 native London animals, a conference room for meetings and presentations, a resource library, and a place to consult with local urban wildlife experts.

© Åbäke, 2011 – 2012