Biography
Chloé Azzopardi is a visual artist and photographer who develops long-term projects combining photography, performance, and installation. At the crossroads of experimental and documentary photography, her images generate fictional worlds whose strangeness and sensory qualities are heightened. Her research focuses on ecology, new technologies, and the construction of post‑capitalocene imaginaries. Her work unfolds around a poetic and activist imagination that invites us to consider new possibilities.

Research Project at the Fondation Martell
Chloé Azzopardi extended her project on “non‑technological devices,” a futuristic fiction exploring our relationship with the living world. She creates hybrid objects made from natural elements gathered in the Cognac region and its surroundings, assembled to mimic real or imaginary technological devices. These artefacts—somewhere between rudimentary craft and science fiction—sketch a speculative universe that questions our fantasies of technical progress and proposes other ways of imagining the future. Through these “organic cyborgs,” the artist examines our relationship with living beings, extractivism, and the disappearance of earthly resources, opening new pathways for envisioning what an ecological self defense iconography could be.
How can we show an alternative in the face of our dreams of a hyper artificialized world driven by the race for technological progress? With this project, she aims to generate images that can serve as resources for our collective imagination.

Results from the Residency
Through fiction and play, Chloé Azzopardi seeks new ways to imagine augmented lives, creating “organic cyborgs” whose purpose would be to inscribe the body differently within its environment. As in her previous work, she uses poetic displacement and reinterpretation of artefacts symbolizing technological progress (headsets, filtering glasses, exoskeletons) to question our relationship with the living world. She introduces beeswax as a new material in her palette of natural substances, shaping it to produce strange colours and forms. Her use of this material, with its singular plasticity, echoes broader notions of the exploitation of living beings, extractivism, and the disappearance of terrestrial “resources” used to build the components of our technological devices.

Integration within the Almanach Lab
Chloé Azzopardi’s work opens a new chapter in the Almanach Lab’s productions, introducing poetry as a medium for disseminating research. This immersive approach to living matter offers a renewed range of perspectives on how to create sensitive narratives about the body situated within its environment. The materials are preserved as close as possible to their natural state, staged lightly in fragile assemblies: the artist’s passage through the landscape is, above all, discreet and ephemeral.

Resources Requested
– Renewable resources from the forests and fields of the Charentes region