Following a small serpentine path through hairy hills and mountains, a robot is walking. Unceasingly, in its circular and alienating course, the robot parades a morphology with double references. At once a metaphor for the allegorical chariot and the attributes of the female body, this automated device parodies and disguises technology to the point of rendering it futile. The installation Tes yeux, tes mains, tes reins, ta bouche (Your eyes, your hands, your kidneys, your mouth) shows the spectacle of a procession in which the robot struts around in its ironically closed circuit. In Paméla Landry's work, the technological universe becomes a support for the staging of the feminine. However, the body-object that walks through it also implies the question of the male gaze shaping it. Femininity, presented here in fragments, reveals the clichés that construct it; the male gaze and its derided object create a tension that makes a mocking automaton move in a singular landscape.
Translated from a text by MANON LÉVESQUE