Amelie Labourdette obtained her degree in Fine Art from the National Fine Art School of Nantes (Les Beaux-Arts). Recipient of numerous research and production grants, her work has been shown in several exhibitions in France and abroad (United Kingdom, China, Georgia, Italy, Germany), and is included in public or private collections. In 2016, Amelie won the Sony World Photography Awards in the category Architecture, with the photographic series Empire of Dust. Amelie Labourdette interrogates through her photographic work what is located below the visible landscape. The landscape is part of our collective and individual memory. By questioning the notion of territory, she tries to reveal the multi-layered identities and temporalities of a landscape. She builds and realizes her photographic projects in a close relationship to the 'territory' concept. Her work can be defined as ''Archeology of the present'' revealed with aesthetic, fictional and documentary values.


Coming soon - November 2017

In this series, Empire of dust, (realized in south Italy), Amelie tries through an 'archeology of the present' to reflect the contemporary history by the yardstick of these unfinished architectures, while invoking the viewer’s imagination so that there unfolds “a variant of the world”.
Concrete skeletons of major projects remained pending of unfinished buildings, recurring patterns of our time affected by socio-economic upheavals, become also, because of their incompleteness, interstitial spaces of indeterminacy, conducive to a photographic quest, exploring the possibilities of a singular reinvestment of the world: they are proving to be, spaces and indefinite forms that have, due to their incompleteness, a «becomingother » that the design of the initial project had dedicated them.
These indefinite forms, between upcoming ruins and potential sculptures, are drawing the figure of a strange present between dystopia and utopia, contemplating its own suspended space : a temporal interregnum between, an after the «disaster» and a revival of history that builds a new poetic area, on which hovers the specter of the end of a certain world.

The moment of capture is stretched to become an ethereal period creating a sense of unreality; in absolute stasis, the opaque light, dense, and lack of shadows, achieve a shift in temporal stratification of landscape that contains preludes of past, clues of present, and stigmas of future