物性本是万物与生俱来的天资，却在我们的现代生活中被步步异化甚至消解。我们将世界多样性的注解，逐步归纳为单调的标准，并以此区分事物。如今，我们的现实中充满了各种不同的归类和划分，几乎所有的事物，都被归纳于相应的范畴之中。在社会生产中，人也被（用）一种新的形式纳入了不同的群体，并归类于各种被修饰的等级之中。在此，人类主体需要在生产关系和集体关系中被把握，个性和身份越发变得模糊，以至于只能在某种游离的对应中才能得以确认和感知。

      法国艺术家Christelle Herve一直在关注人与动物在物性之间微妙的重叠和错位。自幼生活在城乡交界处的农场，使得她对动物及自然的认识有着与众不同的敏感方式。在她近年来的创作中，先前的生活经历所积淀的素材开始逐渐被运用到作品中，人类社会的秩序和逻辑、身份与关系的边界和区分，开始成为她持续创作的主题，并借用动物农场里隐秘的结构模式表现出来。

      在作品《Labour》中，她借用消耗性的圆珠笔，通过反复叠加组合，呈现一张张剖开的动物形体。Christelle似乎在用这些混杂着美好和不安的意象，嘲讽人类对于动物所施加的强权，并试图探讨获取与消耗、劳动与抵消之间不可调和的矛盾。在另一组持续多年的作品《Beasts》中，Christelle直接消解了“人”与“动物”之间的界限，以至于观者很难确认那些形象究竟是人化的动物，还是动物化的人----物性在此被消解殆尽，仅仅只能以制服上残存的某些标志和气息，猜测莫须有的职业和身份。而这些不确定的身份，也因为这种抽空的留白和想象，被强烈地放大并感知。此外，用蒸发干涸的糖水所支撑的僵硬制服，又因为这种“甜蜜的脆弱”，具备了更多的诗意和反讽。

Instinct-Identity—solo exhibition of Christelle HERVE

Originally, the nature is the born endowment of all things; however it has been dissimilated and even dispelled step by step in our modern life. Gradually, we conclude the interpretation on the diversification of the world into a monotonous standard on which we further use as the basis to distinguish things. Nowadays, our reality is full of various classifications and divisions under which almost all things have been concluded into the corresponding category. In social production, men have also been brought into different groups in a new manner and further put into various adorned classes. Under such circumstance, it is necessary for the main body of human being to be grasped in production relationship and collective relationship, while the individuality and status becoming more and more fuzzy to the extent that they can not be identified and perceived only in some kind of dissociative correspondence.

All the way, French Artist Christelle Herve has shown her concern to the subtle overlap and malposition between human and animal in terms of nature. Having lived in a farm at the junction of urban and rural areas since her childhood, she has shown a distinctive sensitive manner in her understanding on animals and the natural world. In her creation in recent years, the source materials accumulated from her previous life experiences began to be used into her works gradually, the order and logic of human society, the boundary and distinction of status and relationship started to become the theme for her constant creation expressed by utilizing a structural model concealed in the animal farm.

In her works Labour, she represents one and another split animal shapes by using consumptive ballpoint pen and through repeated overlap and combination. Christelle seems to sneer human’s might imposed on animals by such imagoes mixed with something wonderful and something restless, and tries to explore the irreconcilable conflict between gain and consumption, labor and neutralization. In another group works Beasts which has continued for years, Christelle dispels the limit between “human” and “animal” directly, so that it’s very hard for the audience to identify if those images are humanized animals or animalized human – the nature has been dispelled thoroughly and it’s only able to guess the profession and status originated from nowhere with some signs and smell remained in the uniform; while such unidentified status is strongly magnified and perceived due to such vacuumed blank and imagination. In addition, the rigid uniform supported by the sweet water which gets dried from evaporation has more poetic flavor and irony owing to such “honey fragility”.