Charlotte Bonjour

Phones

Charlotte Bonjour Mighty Phone

Mighty Phone

etching and chine-collé on C-print, 21 x 30 cm, 2020.
Charlotte Bonjour Tin Can

Tin Can

etching and Chine-collé on C-print, 21 x 30 cm, 2020.
Charlotte Bonjour Broken Phone

Broken Phone

etching and chine-collé on C-print, 25 x 35 cm, 2020.
Charlotte Bonjour Incertitudes

they used to consider me revolutionary

etching and chine-collé on C-print, 21 x 30 cm, 2020.
Charlotte Bonjour Prise de Tête

First they queue for me, and now they ignore me.
I can’t stand this love-hate relationship anymore.

etching and chine-collé on C-print, 21 x 30 cm, 2020.
Charlotte Bonjour Onychophagie

Onychophagie

etching and chine-collé on C-print, 55 x 40 cm, 2020.
Charlotte Bonjour Angry Phone 1

Angry Phone 1

etching and chine-collé on C-print, 21 x 30 cm, 2020.
Charlotte Bonjour Angry Phone

Angry Phone 2

etching and chine-collé on C-print, 18 x 30 cm, 2020.

OSC TTFS ADSB

Vague Lands

Charlotte Bonjour Vague Land Autumn Leaves

Vague Land (Autumn Leaves)

C-Print mounted on Cardboard, 41 x 32 cm, 2018.
Charlotte Bonjour Vague Land Pylons and Wire

Vague Land (Pylons and Wire)

C-Print mounted on Cardboard, 41 x 32 cm, 2018.
Charlotte Bonjour Vague Land Morning Dew

Vague Land (Morning Dew)

C-Print mounted on Cardboard, 41 x 32 cm, 2018.
There was painting. There was painting, a means of subjective ocular transmission. There was painting, and then there was photography, which announced itself as a transparent mechanism of delivering images. There was photography, and then there were computers: the substance got in the way, landing us back in the arena of subjective ocular transmission.
We’d never left it. We made friends with the scanner, but in this intimacy there was an imperative to rebel, to use the tool disobediently.
We used this device, meant for mass reproduction, to make unreproducible images. One of us might have had a sip of green tea. One of us might have smoked a cigarette.
We want to step into the abstraction and make a home in the crisis of blue, red, and yellow, but we had already made the space by merely stepping into the room where the photographs were hung.
Blue is expensive, one of us might have said. The rectangle is expensive, one of us might have said. The rectangles rest against each other, making a space one could step into and inhabit.
Stripes are expensive. Blue against white is expensive. Bodies are expensive: this body is hidden in plain view, touching the intersection of fingers and image and device. This expensive body is reflected in the glass, drilled into the plexi. Blue is expensive and cracking. The ocean is pricey, too, but affixing it to the wall with foam is cheap. Text by Clara Lou on Charlotte Bonjour’s Vague Land. 
Charlotte Bonjour Vague Land Morning Dew

Vague Land (Night Path)

C-Print mounted on Cardboard, 41 x 32 cm, 2018.
Charlotte Bonjour Vague Land Fortified Line

Vague Land (Fortified Line)

C-Print mounted on Cardboard, 41 x 32 cm, 2018.
Charlotte Bonjour Vague Land Tumulus

Vague Land (Tumulus)

C-Print mounted on Cardboard, 41 x 32 cm, 2018.
Charlotte Bonjour Vague Land Window

Vague Land (Window)

C-Print mounted on Cardboard, 41 x 32 cm, 2018.
Charlotte Bonjour Vague Land Between Dog and Wolf

Vague Land (Between Dog and Wolf)

C-Print mounted on Cardboard, 41 x 32 cm, 2018.

Printed Paper

Charlotte Bonjour Printed Papers

Printed Papers (Greenback)

digital print on blueback poster paper, 60 x 85,1 cm, 2018.
Charlotte Bonjour Printed Papers

Printed Papers (Your Time our Money)

digital print on blueback poster paper, 60 x 85,1 cm, 2018.
Charlotte Bonjour Printed Papers

Printed Papers (Punching Bubbles)

digital print on blueback poster paper, 60 x 85,1 cm, 2018.
Charlotte Bonjour Printed Papers

Printed Papers (Lagoon)

digital print on blueback poster paper, 60 x 85,1 cm, 2018.
Charlotte Bonjour Printed Papers

Printed Papers (Monoculture)

digital print on blueback poster paper, 60 x 85,1 cm, 2018.

Dead waves

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