top of page


by Chloé Milos Azzopardi


« Non technological devices » are composite tools made from gleaned natural elements, assembled to mimic the technological devices that populate our daily lives. Between rudimentary productions and science-fiction creations, these objects are as much prolongations of bodies as they are hindrances. Associated with invented artefacts whose use remains to be discovered, they create together a fictional universe that functions as a mirror held up to our fantasies of the future.

With this project the artist wishes to create new desires, to generate images that can be resources for our imaginaries.

How can we show an alternative future in the face of our dreams of a hyper-artificialized and technologized world? Using fiction and play, Azzopardi seeks other ways of imagining augmented lives, creating organic cyborgs whose aim would be to inscribe the body differently in the environment. She uses the poetic diversion of artefacts that are symbols of technical progress to question our relationship with the living and the disappearance of the earthly "resources" used to build the components of our technological objects. Dealing with human intervention on nature, our relationship to technology and the overexploitation of the planet, this research explores other forms of cohabitation with the earthly living and opens up avenues of reflection on what could be an iconography of ecological self-defence.



With her work "Forms they inhabit in time of crisis", Chloé Milos Azzopardi participated in the PEP exhibitions "Connections" and "Obsessions":


This series is rooted in Chloé Milos Azzopardi’s early experience of depersonalization. It’s a disorder that affects a person’s ability to form a constant ‘self’. Marked by the regular disconnection with their body, losing their sensations and boundaries, the photographer got used to imagine the perception of the surrounding livings. Projecting themselves in animals, plants or objects.

In Western philosophy we have done everything to distinguish human from animal, nature from culture, to the point that we thought we were outside of the sphere of the living things. Based on this observation, C.M. Azzopardi attempted to explore the relationships between human and non-human beings without going through a prism of utility or servitude, looking instead for the common shapes that go through us, trying to redefine what otherness, individuality and plurality can mean when the bodies’ limits are challenged.


"Forms they inhabit in time of crisis" by Chloé Milos Azzopardi, from the PEP exhibitions "Connections" and "Obsessions"

bottom of page