Born in Castres, France, in 1986.
Lives and works between Castres and Paris.

Agathe Pitié explores old myths of illuminati masters of Middle Ages using a method of representation “Horror vacui “ to create a cosmogony where ancient characters and myths coexist in a close dialogue with images of contemporary icons of pop culture.

Through her unique figurative compositions, Lions, Deer, Goats, Snails, Dragons and Ninja Turtles live together with criminals, soldiers, Street Gangs, Kings and Queens creating a personal alchemy where a crying Sun, an astonished Moon or the Fire,  float above scenes in conflict. 

“In this moment, I have seen millions of delightful or terrible actions; none has astonished me as much as the fact that they all took the same point without any overlapping and without any transparency. What my eyes saw was simultaneous…”     
Jorge Luis Borges, El Aleph, 1949.

Pitié designs each drawing doing a casting and guided by a screenplay carefully written in her notebooks with actors and roles. Once she has decided on the subject of her drawing, the artist fills pages with her ideas: just like a director, she summons the characters she has met in the course of her research to that imaginary casting.  All will act in her next production. They are organized and laid on paper in a disarray that is only apparent.  The scene is orchestrated by Agathe Pitié and each character plays the role assigned to him/her.   As in a film, extras appear alongside the stars and come to life in their own sequence.  The action also takes place off-screen and off-time.  It is precisely this break or pause induced by the very practice of drawing (non-animated) which allows the viewer to unravel the story. The eye gradually becomes accustomed to the density and richness of the extremely detailed storyboards under observation. Thus begins an endless hunt for “familiar faces”,  first clues to discovering what story is being told.  She has an anthropological side in her world,  full of satirical poetry. 

The international and eternal dimension of her compositions and art pieces are also a big example of the popular Ad culture. The cultural mix imagined by Agathe Pitié, a genuine syncretism, creates a new ensemble that radically transforms the classical version of each narrative depicted. She surfs the internet, and also the Deep Web and Dark Web,  jumping from link to link so as to forge an original path extracted from the mass of  information explored. 

The constant availability of information and the rapidity of its dissemination have profoundly changed the structure and the functioning of society, as well as the social development of individuals. A simple search on the Web provides access to an infinite amount of information which the artist must then select and arrange.  

Agathe Pitié’s range of references is wide and everyone is free to consider them in light of their own personal knowledge and/or experience.  The viewer navigates the drawings as anyone would the internet, randomly jumping from one visual reference to the next, gradually weaving the links that tie these disparate, seemingly unrelated elements, together.

Drawing requires few resources, it is a medium that allows for the immediate reproduction of information. Considered to be the first art form on Earth its existence, as evidenced by cave paintings, dates back to prehistoric times.  The Internet, on the other hand, provides instant access to information.  In Agathe Pitie´s work, this technological tool merges with the most primitive art form.  And it is precisely in the 1990´s, at the time of the creation and democratization of the Web, that drawing, hitherto neglected by art history, came into its own right, thereby becoming an autonomous genre of creation.  

Without going so far as to conclude that these two phenomena are causally related, it is interesting to note the temporal concordance between the development of the internet and the renewal of drawing. These technological and artistic upheavals occurred over thirty years ago, at the time of the artist´s birth.  Hers is a generation that works, communicates and entertains itself via the internet, altering its relationship to others space and time.  

The screen becomes a way of communicate with the outside world, from the solitude of a bedroom, office or studio.  This solitary face-to-face is reproduced in a ricochet effect between the artist and her drawing. The simplicity of the medium makes it the most appropriate form of expression.

Agathe Pitié

Agathe Pitié

Agathe Pitié

Agathe Pitié. Artiste de la casa de Velázquez. Académie de France à Madrid.
Casa Velázquez. Madrid (Spain)

Catalogue of works during her stay at Casa Velázquez. Text Marie Guilhot Voyant.
Français / Spanish
14 pages, 22 x 22 cm, 2015.

Agathe Pitie

Agathe Pitié
Musée d'Art Moderne et Contemporain, Saint-Étienne Métropole, (2014)

Catalogue of the individual exhibition at the Musée d'Art Moderne et Contemporain, Saint-Étienne (France) , Winner of the 5º Club des Partenaires Award. Text and Curatorship by Marie Griffay.
Français / English
80 pages, semihard cover, 20 x 16,5 cm, 2014.