The Stone of Trust is a living symbol whose variable content is fed by the artist in real time and can be read by interaction with the passer-by’s smartphone.

The stone of trust, stable and modest in its form and material, nevertheless betrays a strong desire for communication that is matched by the perfection of the 625 pixels of the QR code hand-modelled on one of its faces.

At a time when introducing unknown content into one’s own phone has become an anxiety-provoking and intrusive experience, this act of flashing allows us, through art, to hack into personalised algorithmic prediction, and thus to fertilise new possibilities.

Yellow stone of trust, Carved clay brick, 10cmx10cmx7cm, Platform 2022

Pierre de confiance, Series of sculpted clay bricks, variable sizes and materials, black solid wood base, Hotel de l’industrie 2023

The list of links is presented in a paper edition each year.

Moke up of the edition, 2023

I want to go to the sea

I want to go to the sea… but I live in Paris and it is 22/04/2020, during the international ecological crisis; coronavirus. 1h04m49s of travel is the time it takes me, clicking non stop in google-earth, to reach my goal. In a special road trip without visible pollution, I walk on the grounds of the past (2018/2019). Without any obstacles, the horizon is revealed and I can tread a virgin land to reinvent.

See here the complete trip, get out the popcorn!

Video, 65min / Zoonosisproject online 2020

WE ARE NOT GOD I – The Astronomers

WE ARE NOT GOD I – The Astronomers

Les Astronomes draws on the relationship between art and science that Vidya-Kelie introduces into her visual work. It presents two intersecting creative processes.

Christian, a neuroscientist working on trans-humanism, is being interviewed in a closed-door setting.

Claire, the young filmmaker who shares his artistic issues, pushes the scientist to free himself from his costume of knowledge and film him in a sensitive moment.


Directed by  Vidya-Kélie
With Ana TorralboAugustin JacobJulien Béramis.
Image and lighting: Marc Obin
Costumes : Mamzelle’ Mo
Script :  Carla Sabotier
Electro-machine assistants:  Emmanuelle Lhomme,  Malo et Eve le Fessant
Assistant director and stage manager:  Isabelle Desalos
Set design: Lola Venet
Sound: Judicaël Michel
Hair: Mathieu Guignaudeau
Make up : Lucie Marot
Writing and editing: Vidya-Kélie

Les astronomers, Vidéo 15min, 2018 / Volumes, 2018 / Metaxu, 2018


The artist organizes meetings in cafés; in a protocol identical to all, Vidya-Kelie does not speak, but lets her characters speak; Claire, artist, Manu, assistant and Mr Leclerc, neuro-scientist, all three embodied in “LES ASTRONOMES”, a film that the guest watches in the café, with headphones. Afterwards, the spectator will be invited to speak into a microphone, listened to in silence by the artist.

The audio documents will then be transposed into PDF to be presented as necessary extensions to its original script “LES ASTRONOMES”.

*The deployment is a key stage of the script, and precedes the dialogue continuity. It is developed from the synopsis (short summary of the film’s story). This text of several dozen pages will then enable the main plots and scenes of a film to be described in more detail.

Deployment*, installation, print on A4 paper, 20 treatments and scenarios from the film “LES ASTRONOMES” including the originals / Université PARIS VIII, 2018


The call is visible but condemned to the figure of isolation and the spectator feels sorrow when he cannot answer the call of “money” or “happiness”… on the other hand, since these aspirations are now visible to all, the witnesses can finally exchange on these subjects and create a real communication.

*Brouhaha – post-contemporary notion / Lionel Ruffel 2016

Video, 3.45mn. Missed Call on an altar, rituals / Open studio 2023

Print on aluminium dibond 52cmx96cm / Volumes, 2020

Loop on Iphone with glass on cradle, charger / Open studio 2023

Video installation, Iphone in a window / Le lieu de l’autre, Arcueil, 2019


L.A.M.P is exhibited as an opportunity, not an event.
This installation linking two exhibition spaces, introduces itself unadorned into the architecture, increasing the buildings which now offer an extra-sensory immersion. The intensity of the movements of the public animated by the attraction to art are revealed by a UV lamp exposed in another cultural space thus offering a surprise, a unilateral moment of connection of thoughts.

Installation électronique, Raspberry Pi, capteurs, lampe, plaque de plexiglas gravé.
Symbiont Space – Büro International, Bâle, 2022.

Homage to the open-source software that allows Vidya-Kélie to build her machine, L.A.M.P. is a delimited zone that recovers light movements from one space and restitutes them as a light spectrum in another place, which can be thousands of kilometres away from each other. Borrowing codes from CERN’s experiments on quantum entanglement, Vidya-Kélie stages her zone of transplantation of electromagnetic fields between two spaces. Like a banal lift manual, the official L.A.M.P. plaque is screwed to the wall where the transmitters and receivers are installed, certifying the work’s operational zone. L.A.M.P. offers the visitor the opportunity of an encounter where they have nothing to do but to be there at the right moment to see/capture the wave variations they are exchanging with the other place. Like a shooting star, it is about offering the visitor the opportunity to receive an uncontrollable gift. Speaking only of transplantation through light, this sensory, one-sided and anonymous experience proposes to question the void*. this matter coveted by science and by beliefs even before the invention of the 0 until contemporary physics.

LA PLENITUDE DU VIDE – Trinh Xuan Thuan 

*Whether on the scale of the cosmos, with the famous “interstellar void”, or on that of the atom, the existence and even the omnipresence of the void is obvious to the modern mind. It is hard to imagine that this idea has taken thousands of years to establish itself, with philosophers and scientists, from Aristotle to Descartes, endeavouring to deny the existence of the void. And certainly, since the void is nothing, how could it exist?
With the pedagogical talent that has made his many books so successful (including The Cosmos and the Lotus, Albin Michel, 2011), the famous astrophysicist Trinh Xuan Thuan retraces for us the great odyssey of the void. Starting with the fascinating story of the invention of the zero from the East, he takes us through the birth of experimental science with Galileo and Pascal, and leads us, through the theories of relativity and quantum mechanics, to contemporary physics. The latter has shown that the vacuum is not an inert nothingness, since ephemeral particles, such as the Higgs boson, can emerge from it. This ‘fecundity of the void’, which we are discovering today, is partly in line with the intuitions of the Taoist and Buddhist traditions, as the author shows at the end of his book. Human and organic archiving

The work takes the form of a visual search engine, and is naturally introduced into mobile phones by inviting habitual practice. The is an invitation to engagement, an action is needed to implant blues cells in a codex of knowledge moving organically in real time.

It is about feeding the platform with artists/philosophers/politicians/researchers/actors who share their resources as well as visitors with their references. proposes to use lines of code for a collective gesture, to give voice to heterogeneity, and the possibility to inscribe on this map, its url(s) to link them to others.
No hierarchy, no subscription, just benevolence and sharing.

This gesture, which today seems completely senseless, is a performance, the artist opens his server without protecting himself; with confidence and generosity.

Welcome to at ISEA 2023, TUMO, Forum Des Images, Paris 2023

Instructions, print on paper, 21cmx30cm, 2021


Using the codes of Youtubers, Vidya-Kélie uses her face and her bedroom decor to attract the visitor.

An eye-catching text on a blue background launches to highlight his interactive and collaborative work HYPERCODEX.ORG; A 100% human platform to save the Internet from powerful algorithms that prevent the transmission of free, heterogeneous and cross-cultural content.


Mortality of knowledge

Edition of a digital herbarium from the URLs stored in the

Collection of 12 medicinal plants from the contents of, print on A4 tracing paper, 2022

WE ARE NOT GOD I – Les astronomes film court - 2018 - 15min

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WE ARE NOT GOD I – Vidéo 2018. 15min

Behind closed doors, Christian, a neuroscientist working on trans-humanism, is interviewed.

Claire, the young filmmaker reveals her own artistic issues in order to take Christian with her so that she can capture him in a moment of truth.

« Les Astronomes » (short film)

Projection using the codes of the short film, the Astronomers, also the name of the exhibition, is the keystone of Vidyakélie’s new project. Les Astronomes is nourished by his pictorial, graphic or numerical practice, which questions the allegorical representations of the human condition: Les Vanités.

Les Astronomes proposes a closed door between three characters: two audiovisual professionals, the director of the film and her lighting designer on the one hand and a scientist working on Transhumanism on the other hand. As the scientist’s subject demands a theoretical requirement at the risk of popularization, the interview turns into an aesthetic and philosophical reflection on the representation of this process.

In Vermeer’s painting, the astronomer is absorbed by his task, he leaves no room for the viewer, the paradox of this reference is that the epicenter of Vidyakelie’s work is at the opposite end. The three characters forget their tasks to concentrate on an interaction, they question themselves.

The Astronomer has often been linked to The Geographer, a work mistakenly cited by the character of Claire, and these two paintings have long been considered as forming a coherent diptych. They are both of the same size and were painted at the same time. Even if this hypothesis has been refuted, these two works present some interesting similarities. Together, they are the only two isolated male representations of Vermeer. The composition and chromatic choices very close to these two paintings, make these works a secular derivative of the theme of Saint-Jérôme under study. This particularity is also present in the exhibition where each work has the function of fitting into the other, significant also in the projection where a work on the mise en abîme is also present.

Text written by Didier Clain.


Directed by Vidya-Kélie

With Ana Torralbo, Augustin Jacob, Julien Béramis.

Marc Obin in image and light

Mamzelle’ Mo in costumes

Carla Sabotier script

Emmanuelle Lhomme, Malo and Eve le Fessant Electro-machino Assistants

Isabelle Desalos Assistant Director and Stage Manager

Lola Venet at the decoration

Judicaël Michel at the sound

Mathieu Guignaudeau at the hairdressing salon

Lucie Marot at the make up.

Writing and editing: Vidya-Kélie

Translated with (free version)

Sunny path Embossing print

Each seconds, people who’s connected to the social-network Instagram are posting news about #sunny. Between an emotional map and a data repository, this information is changing the natural path of the sun making visible a new frenetic energy who become unpredictable. Changing the shape of an ellipse to a new geometric trace it creates a sensation of a new architecture of our digital universe.


Palimpsestes #SUNNY

The definition of palimpsest implies an erasure of the canvas to propose a new reading. Here, the Hashtags stored on Facebook’s servers are an indelible trace; a superposition of physical theorems then takes place and reveals a mathematical reality to the behaviour of humans with their phones.

Thus, the free energy torus or the Finobacci suite validate an international human coherence.

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#SUN @sun_trace

Every second, people who are connected to the social network Instagram post new photos to #Sun.

SUNPATH is somewhere between an emotional map and a real-time data repository; the photos posted on the #SUN feed are arranged on a timeline and geo-located, revealing new trajectories of a digital sun making visible a new frenetic energy that becomes unpredictable., Net-Art, 2020 / Fernrhor Online, 2021 / NataliaBento Galery, 2022 /


On her map, the activity of the hashtag #SUN traces an abstract and infinite yellow line that the artist feeds with a narrative that she generates with artificial intelligence.These lines humorously translate the occupations of Instagrammers who think about the same thing every few milliseconds, poetically archiving the contemporary skies of thousands of digital ‘Suns’.
The laser prints are fragments of this collective astro-digital canvas, creating a constellar installation.

Constellar installation of ten solar fragments, 400mm wide each, 6mm thick wood, datas from instagram on “” database, Unique work, 2022

Constellar installation of three #solar fragments, 400mm, 2mm thick wood, datas from instagram on “” database, Unique work, 2022

#SUN at 12:00 (UTC), Mirror on plexiglass, 580x112mm datas from instagram on “” database, Pièce unique, 2022


Edited like a page of a novel, the database of the SUN category translated by an AI offers a true narrative of a sun that passes from hand to hand. Somewhere between surreal abstraction and new definitions of “Sun” in the digital world, the #SUN cartels are like doors to a literature that bears witness to bottles to the sea that are both international and contemporary.

SUNPATH à 12:00 (UTC), Miroir sur plexiglas, 580x112mm datas from instagram on ” ” database & SUNTRACE à 12:00 (UTC), print on plexiglass 115 x 250mm, A.I. Instagram. Pièce unique, 2022 / Galerie DATA, 2022

MAPS, Prints on folded tracing paper 59.4cm x 42cm, Prints on finira paper 50cm x70cm, Limited Editions, 2020 / NataliaBento Galery 2022

Digital sunshine

SUNRAY, Yellow lettering, 20cmx200cm, 2020 / Super 18, 2020


The photons that escape from the sun have a course almost similar to that of a Y gamete.
The composition of space holds unknown properties that allow stories, secrets and enigmas to be navigated through the walls with dizzying speed. The notion of emptiness is no more since the proposal of the 0.

PHOTONS, Augmented Reality Application, 2021 / Residence DRAC Occitanie 2021

Palimpsests #SUNNY

The definition of palimpsest implies an erasure of the canvas to propose a new visual. Here, the Hashtags stored on Facebook’s servers are an indelible trace; a superposition with physical theorems then takes place and reveals a mathematical reality to the behaviour of humans with their phones.

Thus, the artist humorously and unknowingly uses the torus or the Finobacci sequence to validate, as with Boticcelli’s Venus, a form of scientific coherence in the use of SUN hashtags on Instagram.

Prints on dibond and transparent acrylic plate / Volumes 2020


These digital suns are named after the description of the images tagged #Sun on the social network Instagram.

GIF,Generative art, Artificial Intelligence, NFT collection, 721 / HARDDISKMUSEUM, 2022

For real

Traces of #Sun are left in pictorial, video or photographic landscapes.

Postcard, Serie, 2021 / Volumes 2020

*La carte chez deleuze et Guattari [Archive 2010] Lecture by Manola Antonioli from the International College of Philosophy)

WE ARE NOT GOD III – Noosephere

In this installation, the artist will weave a link between the cafés, restaurants, or individuals around the exhibition space in order to ask them for coffee cups. She hacks these ordinary objects by integrating batteries and LED lights. Vidya-Kélie creates an unexpected association that puts in tension the history of coffee, a colonized spice, with the mercury of batteries and LEDs, polluting and volatile materials. In the darkness, the flickering of the LEDs in the cups evokes a sheet of collective consciousness, the noosphere*.

*The noosphere, according to the thinking of Vladimir Vernadsky and Pierre Teilhard de Chardin, refers to the “sphere of human thought”.

Photo by Bakaturbu

Installation, local cups, LEDs and batteries, 200x200cm, 2017 / Volumes 2017 / Métaxu 2018 / Art au couvent 2019

(…) In one of these installations, WE ARE NOT GOD III, the artist Vidya-Kélie JUGANAIKLOO diverts ordinary objects: coffee cups and luminous LEDs to create an unexpected association. A connection that puts in tension the history of coffee, a spice of the colonies symbol of travel – the condition of nomadic Man, with the mercury of the leds, a polluting and volatile material, symbol of Man’s imprint on nature.

In the darkness, the flickering of the leds arranged in the cups evokes a collective consciousness, a noosphere. The artist questions with “humour and poetry” the relations between beings and their ideal propensities, their ability to make and exchange ideas. A creative function that would produce an artificial network of perception?(…)

Excerpt from the article “KIND OF KIN, MADE OF PARENTS, NOT BABIES!” – By Samir Taouaou – timepoint 2018

photo: installation WE ARE NOT GOD III, NOOSPHERE by Vidya-Kélie and UNITE MOBILE by Antoine Proux

COMPOSITE emotional mapping

The COMPOSITE web site (clic to access): allows the referencing of LANDMARKS by a virtual cartography. Each point is a link allowing to display the consumption of the constellations engraved by the photographic archive of the walkers.

To integrate his personal constellation into the COMPOSITE project, the future collector will enter the geolocation and the date of a passion that he wishes to have engraved and the site will propose an appointment with the artist.

A confluence of History, cartography and the virtual, the site allows to record an emotional digital terrestrial territory offering an echo with stars.

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Human stellar energies GPS Constellations

During the exhibition, the artist invites people to share their feelings; a passion, a break-up, a secret, emotions are shared on the spot or later by email, in order to find the date, the time and the precise location where the memory to be integrated into the card is found.
COMPOSITE is a collective map where earthly emotions are in correspondence with the stars.
The protocol evolves in confidence, woodcuts on stone, acrylic or transfer paper representing constellations are then composed from the precise alignment of stars.

Interactive map on Ipad / Galerie Ellia, Paris, 2020

Introduction by Mathieu LAVEAU

Are the stars the reflection of our world?  Billions of points of light shine in an infinite space, reflecting our individual lights in a finite world of matter… mirror of our beings incarnated on our sublime planet. We choose to unite on Earth, and here our stars are connected by invisible threads. Like Osiris and Isis, like Orion and Sirius which are linked, forever united by incredible geometries, we can live on Earth this harmony of the union of the masculine and the feminine, in an unconditional love.
Let us know how to look at the stars and their embraces, in order to feel the loving force of the Creator.
The Work of Vidya invites us to do so, forcing us to imagine new lines connecting the stars, to tell stories inspired by the position of these stars that illuminate our night.

(Photo from Bruno Chizat)

Text : Anne-Catherine LANDEL

The LANDMARKS represent human embraces studded with celestial objects. They are engravings on wood or acrylic support. In the course of her work on the typology of connections, VidyaKelie imagined that she could interpret the unique traces of her key memories on the scale of the universe.
These extraordinary moments for her, the places where she experienced them, had traced a unique network in space-time that she wanted to recreate.
The artist entwined her feelings with the position of the celestial objects of those days, drawing constellated embraces.
Every human being lives his or her own history, intimately linked to others through time and space, creating invisible connections that are constantly changing. Vidyakelie wants to gather around her and her plastic expression a community that also senses this anchoring. In her Composite project, she links the LANDMARKS collectors on a map and makes it possible to recreate a stellar space on earth!

Engravings, variable dimensions, variable media 2020-2022, Booklet, Prints on claque, 20cmx30cm / Private collections

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Magnetic-Tango Video 3.40


MAGNETIC TANGO – video 3.40 min.

Searching frantically for a place to stop, this couple of suspended magnets follow an intense choreography to finally find refuge in stability.

The fixed magnetic fields diffused by the base, push and pull the mobile in a pre-determined path. There is no form of chance in these movements. A natural magnetico-gravitational intelligence tries to find the best compromise to use as little energy as possible, in either direction.

The natural friction pushes to a stop, and the journey becomes a dance. The illustrious Osvaldo Pugliese, the traditional symbol of the fiery tension of tango contextualizes this quest in an emotional dimension.

Interview by the curator: Julie Giacomini for the exhibition VIDEODELI 2

It’s part of a larger video project: Hope motion.

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Hope Motion Video 3.40 -2020

Magnetic energy, magnetic energy, 竀 “気咧屍恨垣拽, магнитная энергия, energia magnética, 濠晦 縑傘雖, الطاقة المغناطيسية, चुम्बकीय उर्जा .

Enthusiasts around the world offer tips on Youtube on how to achieve infinite movement through magnetism; also known as “free energy” or permanent movement.

These tutorials promise that everyone can create their own individual energy which translates into circular paths. Notwithstanding the cost of producing magnets and the approximate competence of the physical sciences does not hinder this collective utopia of energy independence.

Vidya-Kélie combines the YouTubers’ videos in an immersive installation, creating a face-to-face encounter with a real pendulum made of magnets. This dyptic, punctuated by a tango by Pugliese, resonates like an echo of this international movement in search of a physical and emotional hope.

Installation. Synchronized video loop on 10 individual 10-inch screens, Pendulum, neodim magnets, electric scooter wheel recovered from the Seine, Nylon, steel and fishing lead, Basel, Switzerland, 2022

Magnetic tango in HOPE MOTION installation, Plateforme, Paris, 2022

Installation on screens, Video-Deli 2, Belleville, 2019

Installation on screens / Solo Show “Gravity”, Volumes 2019


MAGNETIC TANGO from Symbiont Space, Basel, 2022

МАГНИТНЫЙ НАГРЕВАТЕЛЬ Как тебе такое Илон Маск? Magnetic heater free heating Игорь Белецкий

100% free energy device | New science projects 2019.

Amazing Experiment With Magnate and Steel Ball

Có Lẽ Đây Là Chiếc Máy Phát Điện MiNi Mạnh Nhất Thời Đại (Large capacity mini dynamo

Easy Free Energy Experiment Generator Magnets __ Work 100%.


Free Energy Generator, Working Patent! Muammer Yildiz Magnet Motor, Detail design!!!

Free Energy Machine Magnet Motor Self Running Generator


Freie Energie Generator mit einem einzigen Magneten | Dein Magnetmotor

Gerador de Energia Infinita – Motor Magnético  – Free Energy Generator

Gerador de Energia Infinita com Ímã Forte

Get Free energy generator with latest technology 2019 _ New Science project

How to make 100% free energy generator without battery with the help of bearings | home invention.

How to Make a Magnet Motor that Does not Work!

How to make Free energy Magnetic energy

How To Make Free Energy Steam Engine Generator With Magnets Using DC Motor Experiments at Home

How To Make Perpetual Motion Magnet Motor fan (Free Energy)

Make Free Energy Generator with Magnet Output 12 Volts Light Bulb New Idea

Motor de Inducción casero – Platero Green School

Motor Magnetico 07

New For Free Energy Generator 12 V  With Tool Make at home 2019

New Free Energy Generator Coil 100% Real New Technology Idea Project 2019

New Free internet WiFi 100% – How to Get Free internet At home 2019

Pakistani Claims to Invent free Electric Generator  Part 2

Perpetual motion machine magnet motor

Perpetual motion motor – | Home experiments

The 3 Types of Magnetic Motors Part 01


Wow Free Energy Generator | Free Energy Magnet Motor Generator | Science Project

Вечный двигатель работающий на запрещенном магнитном поле


ฟรีพลังงาน จากแม่เหล็ก 1kW



RAMA zoom-experience

In pendants, religious icons are replaced by photo-montage processes.

Spiritual programming is a cultural legacy that evolves as technology advances. In a society with exponential calculations, where time is approaching 0, the true dimension which only appears in the present time is highlighted. Representations, which are becoming more and more numerous, are no longer replaced, but superimposed and could disappear to approach the moment of truth*.

*Jiddu Krishnamurti 1972.

*Everybody is post-contemporary 2016

Fly over.


Gigantic medallions house icons that are probably spiritual, religious and correspond to the old and new beliefs that digital technology allows us to maintain.

Paintings on wood of various sizes, metal frames and thick rope (average 100x50cm)

Sent Confessional Net art

Confessionnal net art

SENT is a polymorphic series in which the user is invited to surrender himself in a digital universe and to send his message in a graphic evoking infinity and solitude. The work questions the notion of intimacy, its limits and its definition in the digital space.

ONLINE is an interactive digital website offering the guarantee of untracked and unstored messages that questions the place of personal and private thought in the public digital space.

Use of the artwork, 2021


NON FUNGIBLE TOKEN @Vidyakelie, 2021


// ...
  // ...
  $('#texte-anim').css({animation: 'mon_anim 50s forwards'});
  // ...
// ...

Screen, Code’s window and audio installation, 2021


Multi embed-windows & 3D universe, AreByte Londres, online space, 2021

RECEPTION OF COMPLAINTS in a mall in Arcueil

A short video…  of the wishes of some people the Artist met at Arcueil. Project made in a résidency with Kind of kind collective, Le lieu de l’autre, Mars 2020

This film sends the life goals of the inhabitants of the shopping center “la vache noire” in Arcueil, France, on March 03, 2020 into space.

This information collected on small papers by the artist tries to be heard beyond the earth. The representation of the man of 2020 through this film reveals a fragility. The popularity of the conquest of space flirting with the simplicity of these wishes are exposed in divergent objectives and reveal a disorder that exists among men on Earth at the beginning of the third millennium.

As a metaphor for the exercise of art exhibition, the film SENT uses the desire to share its secrets to create opportunities for sharing and the fear that the message discovered may prevent its realization. Vidya-Kélie gently transfers these wishes into a dimension that escapes intimacy and superstition and now confronts the judgment of the other in the widest possible way including the extra-terrestrial, the non-human, the unknown.

Protocol for collecting grievances & video on screen 2min13, 50cmx70cm, Le lieu de l’autre, Arcueil, 2019

Arecibo Message

Missed call Video Installation

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With its “rules of confidentiality” that memorize the words we use and conclude our desires, the telephone is an intimate place where our time is prophesied*. Secret desires, hoped for by all but each one alone in his telephone, are displayed here in the window and reveal their unanimity .  ( happiness, love, health, friendship, housing, time… )

In this video installation, an iPhone stuck inside a shop window receives teasing calls confronting the spectator not to answer. The phone is visible but condemned to the figure of isolation it represents, and the spectator feels pain when he cannot answer the call of “Money” or “happiness”… on the other hand, these aspirations being now visible to all, the witnesses can finally exchange on these subjects, from man to man and create a real communication.

Thanks to the trust of the inhabitants, the artist was able to propose a work close to their concerns by mixing his own, namely human relations, digital intimacy, and the post-contemporary.

Series of 10 ex. digital print on dibon with frame 10cmx6cm.

*Brouhaha- post-contemporary notion / Lionel Ruffel 2016

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UTERO INFERNALIS Anatomical Boards


The series of digital and printed labels UTERO INFERNALIS in various sizes is a call to “stick it on” in an attempt to reveal the way humans view fertility.The definition of gender and sexuality is giving rise to new paradigms among young adults who are evolving in eco-anxiety and individualism.
Hormonal and cultural roles related to desire, beauty and love are changing, as is the perpetuation of the species.Now possibly outside of bodies, pro-creation asks to be redefined, here by a composite gesture, through the collage or non-collage of these labels.

Photos of the collages to be sent in mp on
Instagram @vidyakelie
Facebook VidyaKélie Juganaikloo

Vidya-Kélie-stickers-UTERO-INFERNALIS.pdf, print and pre-cut on adhesive paper, 300 x 900 cm / Open Studio, Paris, 2022

Scientific abstractions

Borrowing freely from a scientific vocabulary, these plates propose a sensitive universe around the re-contextualisation of procreation and the genealogical and digital status of humans in the 21st century.

Series of four plates, print on paper, wood and climbing rope, 110 x 100 cm / Metaxu, Toulon, 2019 / Volumes, Paris, 2020

UTERO INFERNALIS II, 2019, Series of non-institutional plates, print on paper, 90 x 100 cm


WE ARE NOT GOD VII – Transmission Installation

In a dyptic, Vidya-Kelie stages her creative process: the mathematical formulas necessary for the fabrication of the work sent by her father, a doctor of physics, and the jumps of her daughter dancing around the prototype of the sculpture.

Valuing the process of production rather than the finished object, these two stages of parental transmission question the sharing of knowledge through art as a counterpoint to the finished object as a symbol of power. Here, with sensitive attention, Vidya Kélie Juganaikloo gives visibility to the seeds of art and alchemy that are passed on to the child and the child’s child.

Projection / Metaxu, 2018

The project to be realized is a sphere of 50 cm in diameter that floats and circulates at the average height of an individual’s head. Its semi-opaque material diffuses a soft light and seems to question us in an anxious way about the future of collective intelligence with regard to the autonomy of technology. It is from this metaphorical and poetic gesture that Vidya Kélie Juganaikloo builds WE ARE NOT GOD VII.

Text Axelle Rossini

OFF du OFF Video 11min

OFF du OFF is a series of video portraits.

Through a staged interview with several actors of the French culture of the beginning of the 21st century, the artist archives their feelings about the relationship between Nature and Beauty. This classic theme of philosophy that has been rethought by the anthropocentric and transhumanist notions of the 20th century questions the prediction of the production of culture in the 21st century.

Video series, 2017 / Arts au Couvent, Art projectpartner 2020

Vidéos on screen / Soloshow Huvanité, Volumes, 2016

Vidéos on screen / Soloshow Huvanité, La lucarne des écrivains, 2017

performances Collaborations with musicien

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His confident and intuitive touch enriches the concert in a new way.
Through the projection of live drawings, she mixes genres by making the music dance on paper.
It is an original experience that she offers, which arouses curiosity and broadens the imagination of her audience.

« The challenge of the solo piano performance is that there is always something new to discover.
a common thread that begins before the very first note
and ends after the last one.
Vidya’s features elegantly accompany this concept. » 
Jacky Terrasson

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