Chantaléa Commin, a French artist, born in 1971, comes from a prosaic Guadeloupe but rich in diverse ancestry, Indian, African and Amerindian. This fertile agrarian melting pot, augmented by Studies at Paris I in Visual Arts and Experimental Cinema, has laid the foundations of a contextualized work, but which also integrates the signals of a multiple, shifting social body and universal concerns.
She mixes dreams, art history, folds of colonial memory and the confrontation of peoples, pop culture, mythology and intimate stories, in a hybrid practice, combining, projects related to the human and natural context of her site, painting, computer graphics, photography, video, installation.
Influenced by cinematographic writing, her compositions, specifically in the Babel Series, take on the appearance of an exploded storyboard, with the juxtaposition of scenes "in motion where an underlying dramaturgy is woven". (studied in Bachelor's degree in experimental cinema with Stéphane Marti and Michel Journiac at the Centre St-Charles in the 90s) From the swamp of her native island, to exacerbated bigotry, to inherited narratives in cotton and sugar, to sexism, from displacement to Parisian wanderings, Chantaléa Commin's dense and political work fills the gaps in memory in societies to be decolonized around questions of knowledge production or the symptoms of this partially repressed history,  of domination and dehumanization, analyzing the dynamics of power, identity, and representation.

It reveals the importance of Afro-Indo-descendant artists in redefining what France is and in deconstructing the prejudices entangled in the national discourse.

Through her hybrid creations (family archives, recycled materials and manufactured waste, paintings, digital

drawings, videos, installations, collages and the transfer of icons such as Mona Isla), she reveals a

disenchanted world, where the intimate and the collective intersect, the claws of the past on the present.

The deleterious, insurrectionary climate engendered by the global pandemic, ecological emergencies and new

wars, nourish the nomadic, disquieting and anxious aspect of her work, but also its “militant” character, the

desire to care for and protect. Her creations depict not only the past, but also the intimate, social and

environmental mutations it engenders, and the hope of collective redemption.
 

His work has been presented in Paris, Swizerland, New-york, Miami, Japan, London, Colombia, and Togo. She has contributed to several Revue and Book of art and directed a dozen experimental films.