Born at a time when the representation of the clitoris properly depicted was only published in a middle school textbook at the beginning of the 2017 school year, UTERO INFOERNALIS is a fable. 
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.


Sent.vidyakelie.com is a digital universe for unplotted and unstored spontaneous writing that questions the place of thought in space.


The carving of a Qr-code in clay contains a Javascript code that allows to visualize in a RANDOM way internet pages that the artist wishes to share with those/the places that possess the stone.


Hypercodex.org has the functionality of a search engine.
This collection of information introduced on the platform by anonymous users, is introduced pixel by pixel in the private space of the artist who puts at the disposal of his server to welcome, without filter, nor control, nor mediation, any resources.

WE ARE NOT GOD VII – Transmission

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.


The artist-designed algorithm recognizes the #SUN hashtag on the Instagram app and draws a new user-generated map in real time

WE ARE NOT GOD I – The Astronomers

In a closed-door setting, Christian, a neuroscientist working on trans-humanism, is being interviewed.
Claire, the young director, opens up about her own artistic issues in order to take Christian with her to capture him in a moment of truth.

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. 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.


During the exhibition, the artist invites you to share your 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 in the card is found.


A tango ryhtm displaying DIY youtube tutorials that propose generating free energy with magnets.


This installation linking two exhibition spaces, introduces itself unadorned into the architecture, increasing the buildings which now offer an extra-sensory immersion.


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, as these aspirations are now visible to all, the witnesses can finally exchange on these subjects and create a real communication.