Félicia Atkinson's usual working methods have led her to identify voices in the Chandoline power station that could be used in a composition alongside her own. Voices of objects, voices of landscapes, captured in the old factory or elsewhere in the region, respond to each other, dialoguing with acoustic instruments and her own voice, to form an oratorio that links the building's "reception room" to its history, to climatic evolution and to the time of the stars.
The banquettes of the "reception room" are available to listen to this music. For added intensity, the artist has complemented this sound aspect with a few visual elements. A drink is also available at the bar, a gustatory and olfactory composition also imagined by Félicia Atkinson. All the senses are thus enchanted.
Born in 1981 in Paris
Lives and works in Normandy
After studying at Paris VIII, Félicia Atkinson took part in Boris Charmatz's experimental Bocal pedagogical project before entering the Beaux-arts de Paris.
As a visual artist and electro-acoustic composer, she is interested in the other possible voices that rub shoulders with human voices: those of landscapes, images, books, memories, ideas... She creates plastic and sound works that animate these possible voices, in conversation with her own. She combines field recordings, MIDI instruments (which can communicate with each other) and texts, in French and English. Her own voice, always in motion, whispers or adopts the tone of different characters.
Félicia Atkinson uses composition as a means of dealing with the imaginative and creative life, engaging with the work of visual artists, filmmakers and novelists. Through her layered compositions, she becomes the narrator of stories that bend time and space.
She has released a number of albums, for a time under the name Je suis le petit cavalier (borrowed from Nico), and a novel with Shelter Press, the label and publishing house she founded with Bartolomé Sanson.
In 2020, she spent six months in residence at La Becque, collaborating on projects with Bartolomé Sanson and working in particular with the Lake Geneva landscape.
In 2022, invited to take part in the French Ministry of Culture's Mondes nouveaux project, in addition to a sound and visual installation and a concert, she asked that part of her production budget be used for the acquisition of an area of dunes by the Conservatoire du littoral. The aim is to preserve and share a precious landscape in Normandy, where she recently moved. A non-invasive wooden sculpture-panel simply invites passers-by to listen in.