When I talk about eco art, I am not talking about art that is sustainable or environmental in subject, but art that is socially and environmentally conscious. How can I rethink natural materials to achieve the same effects as traditional fine art materials? How can I make things with a purpose, things that can degrade, and won’t cause any harm? If I must make, should it leave a trace? If so, what kind of trace is being left? Is the digital world a safer space for the environment when it comes to making art? Where do I belong, where am I from, if not here?
Chloë Lalonde (she/they) is completing a double major in Art Education and Anthropology. They have previously worked with Yiara Magazine, as Head Writer (2019-20), The Concordian as Arts Editor (2018-2020) and Creative Director (2020-21), CUJAH (2018-19) and Art Matters (2019). Chloë has also worked with Concordia University’s Centre for Creative Reuse (CUCCR), organising workshops and skillshares as well as facilitating their annual artist residency. Chloë has also taught at Centre Communidée, FACE, the Visual Arts Centre as well as other municipal community centres.
Chloë is now the education and public programming assistant for the Momenta Biennale de L’Image. Her practice aims to be as sustainable and waste-free as possible. She enjoys drawing, paper-making, bookbinding, researching, and writing about all things arts and culture.
I’m interested in documenting and archiving impermanent work [digitally], framing and reframing work to create new meanings. I try to work as if each piece will be found by someone else one day. I methodically label drawings and collect images in virtual spaces. Making them easy to access, but diluting the label down to a simple title. A classification system only I can truly decipher. My system isn’t all that organised, it’s more so a personal process, something I need to do to make the work make sense, to contextualise and frame it for myself.
My work deals with material culture and attempts to redefine natural and traditional making materials. I don’t want anything I make to outlive me. My hope for my work is that it can degrade in a way that is safe for the earth, be that actually, with biodegradable, natural materials, or theoretically, something that only ever existed in a moment, a brief performative action. The residue of these performative acts, reluctant as I am to call them performances, are recycled to create different materials in a circular practice.
The work I have done for ARTX is largely ongoing. Here, I am experimenting with materials, things that were given to me and things that I made myself. I hope to create a solid library of material alternatives that are zero waste, biodegradable and low-cost.
A worthy note: to date, this library is not at all solid.