Felicia ATKINSON
“A readymade ceremony”

Edition of 500 copies.
Relocated in the french Alps following a 5 years exile in Belgium, Felicia Atkinson returns on Shelter Press with A Readymade Ceremony, a concrete / post-digital oratorio in 5 parts.
Composed and recorded at home and on the Oregon coast, the opus documents a full range of bridges happening in Atkinson’s work. It documents the gather of her early-musical studies with her actual musical practice, the reunion of her two main projects – under her own name and Je Suis Le Petit Chevalier – and finally affirms the obvious link between her visual and sonic body of work.
Felicia Atkinson is a visual artist, a writer and musician graduated from Les Beaux-Arts de Paris. Her visual works – sculptures, paintings, installations and collages – includes a variety of media gathered together through the use of improvisation and its patterns such as delay, loop and saturations, with a chosen list of special tools : clay, silk, spray paint, watercolor, wood, or digital images…
Using the improvisation as a main technique to play music, write poetry and make art, her latest output is the book Improvising Sculpture as Delayed Fiction, a fiction / play published by Shelter Press in the fall of 2014.
Pursuing a radical position in the art world with the use of a publishing / economical autonomy as a very crucial element driving her carrier, this LP has been entirely recorded on her laptop using a super basic software. Felicia Atkinson reaffirms here the importance of the DIY in her creating process : the artist-run space as a place to exhibit, the studio space as a whole territory to record, the book as a score, the record itself as a proper documentation for a possible sculpture.
A readymade as the migration of one thing to another one’s context, involving a change of status, of genre, of politics. A ceremony as a possible gathering, a community shared moment, a happening, a celebration, a protest.
The first foundation of A Readymade Ceremony is the text, spread along the 5 tracks building the record. The text is a collage of extracts of Improvising Sculpture as Delayed Fictions (Félicia Atkinson, 2014), Recherche de la Base et du Sommet (René Char, 1955), and Madame Edwarda (Georges Bataille, 1937), and some random texts lying around while Atkinson was playing, mostly picked in the italian magazine Mousse.