Emeline Piot
Biography

Emi was born on October 14th, 1983, in southern France. At an early age, she tried her hand at painting and worked on her first theme: “Color: the reason of drawing.” She quickly positioned herself as a colorist and not an illustrator: “Color lives, drawings think.” She advocated the freedom of this art form: “The line is only subsidiary; its only use is to provide reference points in the drawing.”

Emi then began a series of preparatory courses for art school in Paris. She worked on the concept of representing matter through hyperrealism in painting and in Bic pen. Next, she studied furniture and product design at ESAD in Reims, France. She humorously developed playful objects based on the concept of salvaging and using objects in a novel way.

During this period, she participated in a lace design contest. This allowed her to discover the notion of threads, which is a continuation of the technique she used when working with Bic pens. However, in the face of demands that she achieve results that fit within a specific framework, she sought to escape from this mechanization of her work, keeping only the idea of it. The lace that she then named “the free-thread pattern” became a simple representation, and was not destined to take form.

Next, Emi attended a fashion school in Paris. She broke down clothing, only keeping the origin of it – the thread – which she used to develop a range of objects (lamps in the shape of colorful plants) made of resinated textile fibers. Once she finished her studies, she joined Condé Nast International (Vogue, GQ, etc.) then worked as a freelance advertising stylist for artists and fashion magazines such as “Elle,” “Harper’s Bazaar,” the international version of “L’Officiel Hommes,” and more. She also published her first Bic designs in newspapers.

At the same time, Emi decided to devote herself to her “free-thread pattern” technique. She began a first series called: “Cabinet of Curiosities.” She focused on working only in black ink on a white background. She questioned the essence of the objects she drew: “Each element has a ‘skin,’ a color, whether it is chemical or organic; it is a swarm of millions of threads that give birth to a material.”

This analysis of representation led her to re-examine herself in a new series of nine drawings and ten skulls named: “BLACK AND WHITE: THE ESSENCE OF COLOR” focusing on the different steps required for seeing what we perceive.

Contact
error: