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	<title>alicepallot</title>
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	<pubDate>Tue, 05 Nov 2019 10:03:38 +0000</pubDate>
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		<title>Home</title>
				
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		<title>SUILLUS, looking at the sun with closed eyelids</title>
				
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SUILLUS, Looking at the sun with closed eyelids



EN











On the announcement of the deconfinement, Alice Pallot and her friends dreamt of a space of freedom, of an exploration. She spontaneously did a Google search for «sahara belgium», discovering the unexpected existence of the Lommelse Sahara, in the province of Limburg. Impromptu, they thus left in quest of a wild land.
In the twentieth century, the emissions from the former zinc factory made vegetation completely disappear across several hundred hectares in Lommel, giving way to an arid landscape covered by white sand. In order to avoid the extension of the sandy plains, a new forest of conifers was planted, creating a unique nature reserve. The pines were able to survive through symbiotic coexistence with a fungi, the Sullius Bovinus. Naturally resistant to zinc, it has protected the trees and other reemerging vegetation from ecotoxicity.

Alice Pallot is fascinated by natural phenomena, metamorphoses and silent realities. Her work bears witness to the impact that humanity has on his environment today but also aspires to delicately capture the zeitgeist. The Oasis series, conceptualized and produced with Botanical Agency reveals the ambiguity of the floral industry between the emotional and symbolic charge, the beauty it represents, but also the waste and pollution it generates. The Himéro Island depicted man’s fascination for volcanoes, his cohabitation and symbiotic relationship with his environment. Therefore, the Lommelse Sahara and what it embodies is naturally embedded in Alice Pallot’s work.


During the period of confinement, we observed fascinating natural phenomena - even only a few weeks after the drastic reduction of industrial activities. In Sullius , Alice Pallot is reporting on this natural space completely destroyed by the zinc industry and finally transformed into a nature reserve, a metaphor of possible reconstruction.


Refusing to confine herself to the idea of a disenchanted generation, Alice Pallot delivers a message of hope.


Our relationship to space-time, to each other, and to the body has been changed. How to project into a future ? What is it made of ? The future in our thoughts is no longer a space of freedom but pushes the borders to close on ourselves. Our territory is constantly changing until it becomes and is confined to our body. The masks, the air we breathe, become new constraints until reducing these borders to our skin.


With regard to the social distancing rules, the photographic medium appeared to Alice Pallot as an outlet. Bodies seem to touch and cross, imprinting skin with freedom. A new space is created, a micro-ecosystem where reality and phantasmagoria merge.

Alice Pallot’s work is immersive and the testimony of spontaneous exploration - the images were elaborated on site from sunrise to sunset. The red analog filter Alice Pallot used refers to a playful, mischievous universe and the vision we have when we look at the sun with closed eyelids.


Do we really have our eyes open or are they still closed?


This rebirth in a regenerated, timeless space and the ensuing communion with it illustrates the hope and resilience inherent in human nature.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


Text: Constance Nguyen









				
			
		
	

A l’annonce du déconfinement, Alice Pallot et ses amis ont rêvé d’un espace de liberté, d’une exploration. C’est très spontanément qu’elle effectue une recherche «Sahara belgium» sur Google, découvrant l’existence inattendue du Sahara de Lommel, dans la province de Limbourg. Ils partent alors de manière impromptue, en quête d’une terre sauvage.


Au XX ème siècle, sous l’effet des émanations nocives de l’ancienne usine de zinc de Lommel, la végétation est détruite et disparaît totalement sur plusieurs centaines d’hectares, laissant place à un paysage aride recouvert de sable blanc. Des conifères sont ensuite plantés pour constituer un nouveau bois et ainsi éviter que l’ensablement ne se poursuivre créant une réserve naturelle singulière. Les pins survivent grâce à leur coexistence symbiotique avec un champignon, le Sullius Bovinus. Naturellement résistant au zinc, il a protégé les arbres de l’écotoxicité et participé à la réémergence d’autres végétaux.


Alice Pallot est fascinée par les phénomènes naturels, les métamorphoses et les réalités silencieuses. Son travail témoigne de l’impact que l’homme a aujourd’hui sur son environnement mais aspire aussi à délicatement capturer l’air du temps. La série Oasis, pensée et réalisée avec Botanical Agency dévoile l’ambiguïté de l’industrie du marché floral entre la beauté, la charge symbolique et émotionnelle qu’elle représente mais aussi les déchets et la pollution qu’elle génère. L’Île Himéro dépeint la fascination de l’homme pour les volcans, sa cohabitation et relation symbiotique à son environnement. Le Sahara de Lommel et ce qu’il incarne s’ancre alors naturellement dans l’oeuvre d’Alice Pallot.


Pendant la période de confinement, nous avons observé des phénomènes naturels fascinants,&#38;nbsp;











quelques semaines seulement après la réduction drastique des activités industrielles. Dans Sullius , Alice Pallot fait l’état de cet espace naturel complètement détruit par l’industrie de zinc et finalement transformé en une réserve naturelle, image de possible reconstruction. Refusant de se cantonner à l’idée d’une génération désenchantée, Alice Pallot délivre un message d’espoir. 


Notre rapport à l’espace-temps, à l’autre, et au corps a été bouleversé. Comment se projeter dans un avenir ? De quoi est-il fait ? Le futur dans nos pensées n’est plus un espace de liberté mais pousse les frontières à se refermer sur nous-mêmes. Notre territoire change constamment jusqu’à ce qu’il devienne et se limite à notre corps. Les masques, l’air que nous respirons, deviennent de nouvelles contraintes jusqu’à réduire ces frontières à notre épiderme.


Face aux règles de distanciation sociale, le médium photographique est alors apparu à Alice Pallot comme un exutoire. Les corps semblent se toucher et se croiser, la peau s’imprégnant de liberté. Un nouvel espace se crée, un micro-écosystème où réalité et fantasmagorie fusionnent.


Le travail d’Alice Pallot est immersif et le témoignage d’une exploration spontanée; les images ont été élaborées sur

place du levé au couché du soleil. Le filtre analogique rouge qu’elle a utilisé fait référence à un univers ludique et mutin et à la vision que nous avons lorsque nous regardons le soleil les paupières closes.


Avons-nous vraiment les yeux ouverts ou sont-ils encore clos ?


Cette renaissance dans un espace régénéré, hors du temps et cette communion avec lui illustre l’espoir et la notion de résilience inhérente à la nature humaine.


Texte: Constance Nguyen








• 2024 September: Group show, “Habiter l’invisibke” by collectors Marie-Hélène and Sebastien de Groote, Brussels
• 2023 June: Group show, “On the Verge”, Futures, Fotofestiwal, Lodz, PL
• 2023 June: Group show, “On the Verge”, Futures, Copenhagen Photo Festival, Copenhagen, DK• 2023 January — Group show, “Topographies sensibles”, Galerie Talmart, Centre Wallonie Bruxelles,Paris, FR• 2022 october: Group show, “On the Verge”, Futures, Camera, Turin, IT• 2022 June: Group show, «. tiff », Fotomuseum Antwerpen, Anvers, BE• 2022 January: Group show, Immix Galerie, Paris, FR• 2021 November: Solo show, La Caserne opening, Paris, FR
• 2021 September: Group show with Hangar, UNSEEN, Amsterdam, NL

• 2021 January  : Laureate of “The World Within”, Group exhibition, Photo Brussels Festival, Hangar Art Center, Brussels&#38;nbsp;
• 2021 January : Suillus – Self publication, Brussels, Belgium 


				
			
		
	


	
		
		
	
	
		
			
				
					

				
			
		
	



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		<title>Oasis</title>
				
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	Oasis&#38;nbsp;
EN

	
		
		
	
	
		
			
				
					The OASIS photographic series came from a conversation I had with Botanical Agency *
about the culture of cut flowers and its surprising ambiguity. The photographs take a truthful
look at the beauty and the brutality of waste generated by the floral industry.OASIS is the name of the star product of a global American company, Smithers-Oasis, that
specializes in manufacturing green blocks of plastic-based foam that, as the name indicates,
keeps fresh flower arrangements moist, and holds them in place.
OASIS foam is indeed an extremely handy solution for floral design. It facilitates creativity
and efficiency. It is also highly toxic and non-biodegradable. The foam quickly decays into a
fine powder, the source of a lasting, diffuse and aggressive pollution.This series looks at our relationship with flowers for what it is. Growing, trading and gifting
flowers has a multitude of extraordinarily profound cultural functions. It is an everlasting
source of beauty and knowledge, though the astounding material reality behind this trade can
produce chaos and entropy as any industry.

					
OASIS series shows how foam decays and blends with water plants in a long timeframe. A
LED grow-light, catches an infinity of plastic particles meandering freely in the water. Small
pieces of duckweed stick graciously to a foam block. It is both visually appealing and quietly
uncanny. In times where we need to reconsider our techniques and make choices about how
we want to engage with the biosphere (in this case plants, water, and their cycles), we thought
of the OASIS series as a set of immersive images filled with details that would help focus and
think hard.

					
*Botanical Agency is a duo of spatial practitioners based in Paris and New York. Elena
Seegers and Simon de Dreuille are trained in Architecture, Botany and History of the
Environment.FRLa série OASIS est issue d’une conversation que j’ai eue avec Botanical Agency * sur la
culture des fleurs coupées et son étonnante ambiguïté. Les photographies jettent un regard
véridique sur la beauté et la brutalité des déchets générés par l’industrie florale.
					OASIS est le nom du produit vedette de la société américaine Smithers-Oasis, spécialisée
dans la fabrication de blocs verts de mousse à base de plastique qui, comme leur nom
l’indique, garde les arrangements de fleurs fraîches humides et les maintient en place.La mousse OASIS est en effet une solution pratique pour le design floral. Elle est également
hautement toxique et non biodégradable. La mousse se décompose rapidement en une poudre
fine, source d’une pollution durable, diffuse et agressive.Cette série examine notre relation avec les fleurs pour ce qu’elle est. Cultiver, échanger et
offrir des fleurs a une multitude de fonctions culturelles extraordinairement profondes. C’est
une source éternelle de beauté et de connaissance, bien que la réalité matérielle stupéfiante
derrière ce commerce puisse produire le chaos et l’entropie comme n’importe quelle industrie.Je montre comment la mousse se décompose et se mélange avec les plantes aquatiques sur
une longue période. Une lampe de culture à LED capture une infinité de particules de
plastique qui serpentent librement dans l’eau. Des petits morceaux de lentilles d’eau se collent
gracieusement à un bloc de mousse. À une époque où nous devons reconsidérer nos
techniques et choisir comment nous voulons nous engager dans la biosphère (dans ce cas, les
plantes, l’eau et leurs cycles), j’ai pensé à la série OASIS comme un ensemble d’images immersives remplies de détails aiderait à se concentrer et à réfléchir.

					*Botanical Agency est un duo de praticiens de l’espace basés à Paris et à New York. Elena
Seegers et Simon de Dreuille sont formés en architecture, botanique et histoire de
l’environnement.
• 2024 September: Group show, “Habiter l’invisible” by collectors Marie-Hélène and Sebastien de Groote, Brussels
• 2020 September: Group show, “Dans quel monde rêvons-nous?” by Xeno, Bozar, Brussels
• 2020 August-Septembre: Solo Show, “En Piste!”, Satellite Gallery, La Boverie, Liège
• 2019&#38;nbsp;April  : The series Oasis is part of Vegetal Trauma – Spectre 2 - Éditions Cosa mentale –
Paris - with Spassky Fischer, Giovanni Murolo, Mathias Gervais de Lafond, Théo Casciani,
Erwan Fichou, Vincent Delbrouck, Vincent Lamouroux..etc


					•2019 November: Group exhibition, Photo Brussels Festival, Hangar Art Center, Brussels


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		<title>L'île Himero </title>
				
		<link>https://alicepallot.com/L-ile-Himero</link>

		<pubDate>Tue, 05 Nov 2019 10:03:29 +0000</pubDate>

		<dc:creator>alicepallot</dc:creator>

		<guid isPermaLink="true">https://alicepallot.com/L-ile-Himero</guid>

		<description>L’île Himero
	ENMan’s fascination for volcanoes is immemorial. The fear towards them is at the origin of many myths and has never ceased to mark iconography, literature and the collective imagination.
Despite scientific progress, man still cannot predict breakouts. Their unpredictability, their grandeur and their savage beauty confronts man with a powerful nature, anthropomorphised independently by generations and civilisations everywhere.

Often emblem of violent impulses, madness, symbols of destruction, volcanoes are also worshipped and represent a source of life and energy. This ambivalence and perilous balance between life and death renders volcanoes deeply captivating subjects.

Alice Pallot is fascinated by natural phenomena, metamorphoses, silent realities and the link that a man maintains to his environment. The Aeolian Islands therefore naturally emerged as a major element in her series. Meeting scientists and natives, her exchange with a vulcanologist, a native of Stromboli, who had a fusional relationship with the volcano was decisive. Alice Pallot recounts her spellbinding experience of ascending Vulcano and Stromboli, both still active. She experiences the omnipresence of the volcanoes, the cohabitation of man and his symbiotic relationship with his Strombolian environment. The inhabitants personify the volcanoes and live with them according to their moods.

Alice Pallot’s journey is punctuated by vernacular stories and beliefs, a secular oral tradition told by locals. The activity of the volcano has brought out a rich lexic on of the landscape.
Descriptive rhetoric has hence elevated it to an allegory of the living being: sleep, awakening, eruption, anger, rumbling ... Rational description then instantly blends into the imaginary.

The boundaries are then increasingly thin between reality and phantasmagoria, man and nature. As you walk, the visions become feverish and highlight the enigmatic nature of the environment, where the elements blend together like mirages.

This almost supernatural journey, peaceful and on the fringes of the world, creates a fictional island.

The viewer thus gradually immerses himself in the universe of Himero Island.The harshness of the geographic environment and the insularity of the setting merge with anaesthetic of vital momentum through the importance of colors. We find on the fertile mineral soil bathed in geothermal energy, Thermus aquaticus. Organisms living in the craters ofvolcanoes, they feed on lava and sulfur extract and represent an extremely interestingsource for scientists, their enzymes used for DNA amplification method in molecular biology.

Strange plants then unfurl to meet a mouth spewing out high-temperature sulfur crystals, mollusks strewn the fiery black sand, electric blue science gloves come into the frame.

We then discover an architectural structure: the scientific research center of Himero Island. Finally, a Madonna seems to emerge from fumaroles or from the crater, from an alchemical place where matter seems to be transfigured. Therefore emerges a viatic imagination of thevolcano, a divine manifestation or the image of a foster mother.

Alice Pallot's work is immersive and the testimony of spontaneous exploration. Thecomposition of the images was developed during the ascent of the volcanoes, allowing acommon thread to intuitively emerge guiding her shooting, without post-production. From afusion of imaginary ideas, fiction and real landscapes emerges a form of poetic documentary.

The last photograph opens and closes the series to create a cycle. As if out of time, we then wonder if we get there, if we leave, if we will stay there forever; whether the experience was real or the result of an illusion; if, ultimately, we carry Himero Island within us.
FRLa fascination des hommes pour les volcans est immémoriale. La crainte à leur égard est à l'origine de nombreux mythes et n'a cessé de marquer l'iconographie, la littérature et l'imaginaire collectif.
En dépit du progrès scientifique, les hommes ne sont toujours pas en mesure de prévoir les éruptions. Leur caractère imprévisible, leur grandeur et leur beauté sauvage met l’homme face à une nature puissante qu’il n’a cessé d’anthropomorphiser.

Souvent figures de pulsions ou de folie, symbole de destruction, les volcans sont aussi vénérés et représentent une source de vie et d'énergie. Cette ambivalence et cet équilibre périlleux entre vie et mort participent à en faire des objets captivants. Alice Pallot est fascinée par le lien qu’entretient l’homme à son environnement, les phénomènes naturels, les métamorphoses, les réalités silencieuses. Les îles Éoliennes sont donc naturellement apparues comme un élément majeur de sa série. A la rencontre de scientifiques et d’autochtones, son échange avec un vulcanologue natif de Stromboli entretenant un lien fusionnel avecle volcan fut déterminante. Alice Pallot retrace son expérience envoûtante de l’ascension de Vulcano et de Stromboli, toujours en activité. Elle éprouve l'omniprésence du volcan, la cohabitation de l’homme et sa relation symbiotique avec son environnement strombolien. Les habitants personnifient le volcan et vivent avec lui selon ses humeurs.

Le cheminement d’Alice Pallot est ponctué d’histoires et de croyances vernaculaires, tradition orale séculaire contée par les habitants. L’activité du volcan a fait émerger un riche lexique du paysage. La rhétorique descriptive l’a ainsi élevé en allégorie del’être vivant : sommeil, réveil, éruption, colère, grondement... La description rationnelle se mêle alors instantanément à l’imaginaire.
Les frontières sont de plus en plus minces entre réel et fantasmagorie, homme et nature. Au rythme de la marche, les visions se font fiévreuses et mettent en exerguele caractère énigmatique de l’environnement, où les éléments se fondent commedans un mirage.
Ce voyage presque surnaturel, paisible et en marge du monde engendre la création d’une île fictive. Le spectateur s’immerge ainsi progressivement dans l’univers de l’île Himero.

L’âpreté et l’insularité du cadre se mêlent à une esthétique de l’élan vital par l’importance des couleurs. On trouve sur le sol minéral fertile baigné d'énergie géothermique, des Thermus aquaticus. Organismes vivant dans les cratères desvolcans, ils se nourrissent d’extraits de lave et de soufre. Leurs enzymes permettant d’amplifier la chaîne d’ADN, ils représentent une source extrêmement intéressante pour les scientifiques.
D’étranges végétaux se déploient alors pour rencontrer une bouche crachant des cristaux de soufre à haute température, des mollusques jonchent le sable noir ardent, des gants scientifiques bleu électriques s’immiscent dans le cadre.

On découvre ensuite une structure architecturale : le centre scientifique de recherchede l’île Himero.

Enfin, une madone semble émerger de fumerolles ou du cratère, d’un lieu alchimique où la matière paraît se transfigurer. Affleure ainsi un imaginaire viatique du volcan,l’image d’une manifestation divine ou d’une mère nourricière.
Le travail immersif d’Alice Pallot est le témoignage d’une exploration spontanée. La composition des images a été élaborée pendant l'ascension des volcans laissant émerger intuitivement un fil rouge guidant sa prise de vue, sans post-production. La fusion d’idées imaginaires et paysages réels engendre une forme de documentaire poétique.

La dernière photographie ouvre et referme la série pour créer un cycle. Comme hors du temps, on se demande alors si l’on y arrive, si l’on part, si on y restera à jamais; si l'expérience était réelle ou le fruit d’une illusion ; si, en fin de compte, l’on porte l’IleHimero en nous.

Constance Nguyen


	
• 2024 September: Group show, “Habiter l’invisible” by collectors Marie-Hélène and Sebastien de Groote, Brussels

• 2020 Sept-Oct : Solo Show, "L'Ile Himero", Satellite Gallery, Biennale de L’image Possible de Liège

• 2019 April : Group exhibition, "L'Or Bleu", N'Oblige Gallery, Paris
• 2018 October : "Fisheye Magazine", Hors-série, Year Book 2018
• 2018 July : Les Rencontres photographiques d'Arles,
group exhibition, Voies-Off, Jute Gallery, Arles
• 2018 June : Group exhibition, Hangar Art Center, Brussels
• 2018 June : Roger De Conynck's Price.
• 2018 June : Selected at " Artagon contest"

				
			
		
	
Thanks to Labographie, Saskia Gevaert,&#38;nbsp;Marguerite Barroux and Nicolas Stolarczyk.

Text: Constance Nguyen


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	<item>
		<title>Oosphère</title>
				
		<link>https://alicepallot.com/Oosphere</link>

		<pubDate>Tue, 05 Nov 2019 10:03:30 +0000</pubDate>

		<dc:creator>alicepallot</dc:creator>

		<guid isPermaLink="true">https://alicepallot.com/Oosphere</guid>

		<description>OosphèreENI imagine a futuristic world in which a scientific community wonders about its origins. In this world, the flora has disappeared. Men have lost an essential element of its history. This series is entitled Oosphère, which is the name of the female plants reproductive gametes and the name I imagined for this scientific community. Oosphereis a new era, which sees the vegetal organisms reconstituted by the scientists based on the traces left by their predesecors and disappeared plants. Hence, I induce a confusion between faithful testimony and fantasized reality.

FRDans cette série j’imagine un univers futuriste dans lequel une communauté scientifique s’interroge sur ses origines. Dans cet univers, le monde végétal a disparu. L’Homme a perdu un élément essentiel de son histoire. Cette série s’intitule Oosphère, qui est à la fois le nom des gamètes femelles reproductrices chez les végétaux et celui de cette communauté scientifique. Oosphère est une ère nouvelle, où germent des organismes végétaux reconstitués par des scientifiques, qui se sont fondé sur les traces laissées par leurs prédécesseurs. J’induis ainsi une confusion entre témoignage fidèle et réalité fantasmée.

• 2022 October: Group show, “Histoires naturelles”, Résidence 1+2, Chapelle des Cordeliers, Toulouse, FR 2022 september — Group show, «Prométhée, le jour d’après»,• 2017 June : Group exhibition, La Vallée, Brussels


				
			
		
	


	
		
		
	
	
		
			
				
					Thanks to Mathilde Van Rossom and Marie Abitbol


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</description>
		
	</item>
		
		
	<item>
		<title>Les Récifs tissent des toiles</title>
				
		<link>https://alicepallot.com/Les-Recifs-tissent-des-toiles</link>

		<pubDate>Tue, 05 Nov 2019 10:03:31 +0000</pubDate>

		<dc:creator>alicepallot</dc:creator>

		<guid isPermaLink="true">https://alicepallot.com/Les-Recifs-tissent-des-toiles</guid>

		<description>Les récifs tissent des toiles
	ENToday, it is hard to find a piece of natural and untapped land.
Vendicari is one of these numerous natural reserves created by men.
I wanted to bring this dry and colorless landscape to life by experimenting with my
photographic material. I show in this serie fragments of landscapes with artificial colours
carefuly chosen in which minerals, plants and humans beings look like lethargic and into
hibernation.FRAujourd’hui il est rare de trouver un territoire naturel et vierge de l’action de l’homme.
Vendicari, est l’une des nombreuse réserves naturelles née de sa création.Je redonne de la vie à ce paysage aride aux couleurs éteintes en expérimentant avec le
matériel photographique dont je dispose sur place. Je montre des fragments de paysages aux
couleurs artificielles minutieusement choisis et dans lesquels les minéraux, végétaux et êtres
humaines apparaissent comme abandonnés à un état de léthargie et d’hibernation.

	

	
		
		
	
	
		
			
				
					• March 2017: Group exhibition, La Cambre, 425 Avenue Louise, Brussels
June 2017: Group exhibition, La Vallée, Brussels• July 2017: Group exhibition, Diep-haven Festival, Dieppe (France)• July 2017: Group exhibition, Pavillon Baltard, ParisThanks to Le Fresnoy and Le Fond des amis de la Cambre


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	<item>
		<title>Land</title>
				
		<link>https://alicepallot.com/Land</link>

		<pubDate>Tue, 05 Nov 2019 10:03:36 +0000</pubDate>

		<dc:creator>alicepallot</dc:creator>

		<guid isPermaLink="true">https://alicepallot.com/Land</guid>

		<description>Land
	ENLand is a book, I realized with Maria Ji, Chinese-American graphic designer, we both discovered Switzerland for the first time in 2017.They travelled across the country where they met foreigners living there, whose stories inspired Alice and Maria’s work. Land is a narrative study on the subjective and mysterious nature of lands in Switzerland, from fantastical dreamscapes to pseudo-realistic utopian enclosures. In the spirit of an unregulated paradise,&#38;nbsp;Land&#38;nbsp;seeks to engage the viewer to build his own narrative landscape. Alice Pallot and Maria Ji show us an undefined land, in which our interpretations shapes the story itself..
FRLand, est un livre que j’ai réalisé avec Maria Ji, graphique designer chinoise-américaine. Nous avons toutes deux découvert la Suisse pour la première fois en 2017. Nous avons voyagé à travers le pays et ainsi rencontré des étrangers vivants en Suisse, en imaginant ces rencontres comme les différents personnages d’un paradis non réglementé. Land cherche à amener le spectateur à construire son propre paysage narratif, guidé par ces personnages, j’emmène le spectateur dans un étrange et mystérieux cérémonial. Je montre un pays indéfini, dans lequel nos interprétations façonnent l'histoire elle-même..

	
2017, 14 x 235 x 327 mm, 47 pp.Limited edition of 15 


				
			
		
	
• 2019 March: Group exhibition, "Photobook Belge", Fotomuseum Antwerpen, Anvers• 2019: Land was part of « Rolling Paper » Le Bal Paris, « Artists Print » Brussels, « Ghent Art Book Fair »,&#38;nbsp;« Wiels Art Book Fair&#38;nbsp;» Brussels…etc Thank you very much to Bulk Art Book. 


	&#60;img width="615" height="500" width_o="615" height_o="500" data-src="https://freight.cargo.site/t/original/i/cb77898d93feb4bf1ee4d0696a3a1fe1bbf895b862f05febb337ff0e2bd0441e/Land-Alice_Pallot_01.jpg" data-mid="54056581" border="0"  src="https://freight.cargo.site/w/615/i/cb77898d93feb4bf1ee4d0696a3a1fe1bbf895b862f05febb337ff0e2bd0441e/Land-Alice_Pallot_01.jpg" /&#62;

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</description>
		
	</item>
		
		
	<item>
		<title>Beni Mellal</title>
				
		<link>https://alicepallot.com/Beni-Mellal</link>

		<pubDate>Tue, 05 Nov 2019 10:03:37 +0000</pubDate>

		<dc:creator>alicepallot</dc:creator>

		<guid isPermaLink="true">https://alicepallot.com/Beni-Mellal</guid>

		<description>Beni MellalCette série est un travail en cours qui évoque la problématique de l’eau au Maroc dans la région de l’Atlas Mars 2018&#60;img width="500" height="750" width_o="500" height_o="750" data-src="https://freight.cargo.site/t/original/i/0a5326c35562987e950d63de0d9aee5366d541ba5fe58eae282948ab4bd7bf8e/_MG_0421-copie.jpg" data-mid="54056602" border="0"  src="https://freight.cargo.site/w/500/i/0a5326c35562987e950d63de0d9aee5366d541ba5fe58eae282948ab4bd7bf8e/_MG_0421-copie.jpg" /&#62;
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	<item>
		<title>Welcome home</title>
				
		<link>https://alicepallot.com/Welcome-home</link>

		<pubDate>Tue, 05 Nov 2019 10:03:38 +0000</pubDate>

		<dc:creator>alicepallot</dc:creator>

		<guid isPermaLink="true">https://alicepallot.com/Welcome-home</guid>

		<description>
Exposition de groupe, Botanique, Bruxelles
Juin 2015


Cette série s’intitule « welcome home » :
J’ai cherché à mettre en évidence des attitudes qui ne sont pas visibles à la lumière du jour, car la nuit les repères changent, le langage intuitif est plus présent que celui de l’intellect.
Désinhibé le sujet devient plus accessible.
J’ai photographié dans un certain anonymat, j’aime ce rapport différent à l’humain. Dans cette série je donne à voir une communauté, un groupe
homogène.

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