The visual language of Cristin Richard.

The Space Between You and I.

The Space Between You and I (2016) Human Hair, Animal Tissue, Gold Leaf, Silicon, Matte Medium Photos by EE Berger





Cristin Richard has chosen to present her new project, ‘Metabolism’, through an interdisciplinary approach which combines film, sound, installa­tion and performance. The artist proposes an in situ exhibition, in perfect harmony with the architecture it is housed within: The Historical Detroit Savings Bank magnificently built in 1927. At this moment, Cristin’s research and analysis on the human body brought her to explore the notion of time and its interdependence with the body and space. Which better than this particularly sound structure, for an odyssey in “space-time”.

Time, closely related to the sense of our existence, escapes any defini­tion. All attempts to define it includes a term that means time itself: “according to the order of becoming before and after” … “marked time by the succession of events (1.). If we try to express the main character of time, we will revert to talking about the notion of irreversibility, the act of falling in the past is impossible to correct, and in regret we face a shadow, an impregnable one of nothingness. The irreversible order of time is felt according to three dimensions: past, present and future. It is in the present that these three movements of conscience get material­ized: focus on the current existence, go back/return in thought to what was and no longer exists, and a perspective towards what will occur. But the present could be at its tum, lived and understood in various ways. Any fragment of becoming has a beginning already spent, and also not yet completed … It is in this context that Cristin wanted this exhibition designed, to allow the viewer to think of time from the pres­ent sense. The intuitions and the schematics imposed by our conscious­ness will be shaken, and our own subjective sensitivity to each is destabi­lized.  [read more..]

1. Nietzsche, Ainsi parlait Zarathoustra, Ed. Gallimard, 1947.

-Kenza Amrouk


Metabolism (2015) presented at The Historic Detroit Savings Bank. Performance in tandem with film.
Metabolism presented at The Historic Detroit Savings Bank.  Performance in tandem with film.


Metabolism Study.
Metabolism Study. (2015)


Collaborative works of Simone Else and Cristin Richard presented at Metabolism, within the vault of The Historic Detroit Savings Bank.





SIM Gallery, Reykjavik, Iceland
Left: Animal intestine and fur garnment created for Trifle II. (Performance Installation),
Right: Trifle I. (Untitled), Collage on mirror
InstallationView SIM Gallery


Trifle I. (Untitled)
Collage on mirror

Daddy’s Girl.

For the Sweet Spot exhibition at Robert Kidd Gallery, Cristin Richard exhibited work in the form of sound sculpture.  With this particular piece, she recreates memory, capturing a beautiful moment leftover from a violent time.

The works of Cristin Richard oscillate between fragility and violence, between beauty and repulsion, between opacity and transparency and also between strength and lightness.  It explores our relationship to the body, relative to the most intimate fragments of the mind.

Daddy’s Girl
Hog intestine, resin, pigment
Daddy's Girl | 2012 | hog intestine, resin, pigment


The American Dream.

[…] At the time she first conceived this piece, Cristin Richard was questioning the concept of “the living”/ “the home” in society in general, and for the American society in particular. “Dwelling” is considered to be the essence of the human being, it means living in the world and thus fulfilling it’s citizen role, neighbor and host. The human must position oneself in front of existence and especially towards others. This is ethics: the quest for one’s position in the society.

A dwelling place could be of various kinds: house, apartment, home, guest house, houseboat, monastery, hut, tent or yurt in the desert, some shelter we built (1).  But it must be possible to close the door, “our door”; having an intimate space of retreat, respite, a break with the public space. Entering into his private space, the human being reaches the concept of reflection: a base to the relation to oneself, self-knowledge and self-preoccupation. This is the Ithaca of Ulysses (2), which relieves fatigue wanderings and struggles of daily life.

“Living” is also to be related to a place, a space, to fill it with yourself, not only as a material body.  A space marked by the print belonging to its inhabitants. The living space is colored by the subjectivity of it’s inhabitant, his vibrations, his memories and of his footprint.

Through “American Dream”, Cristin Richard offers the viewer to discover what was the home of her youth. Inside the Tee Pee, the artist recreates the protective walls that have rocked her childhood, we find all sorts of familiar objects. Memories that reflect are not only the good moments, but also those that carry the anxiety of confinement. Conceptually, this confinement relates to experiences that have shaped our childhood and hold us chained to some fears, an imperceptible depth of the being.  Everything is made to create a real interaction between the audience and this environment.

 Kenza Amrouk

(1) Martin Heidegger,  « Building, Dwelling, Thinking » Essays and lectures II, Gallimard, 1958.  1. Translation,  Albert Halstad, Harper.New York, 1971  (2) Homer “ The Odyssey” Translated by Robert Eagles – Introductions and notes by Bernard Know.  Published by the Penguin Group, 1997.

The American Dream
Public Pool
Hamtramck, MI
Animal intestines, acrylic, found objects
approx 12′ diameter x 8′ h.
The American Dream


The American Dream
Inside view
The American Dream | 2011 | Inside Detail


The American Dream
Archival Print
30″ x 20″
American Dream | 2012 | Photograph


The American Dream
Performance Installation
Birmingham, MI
The American Dream | 2012 | Performance Installation


The American Dream
Performance Installation
Birmingham, MI
The American Dream | 2012 | Performance Installation





Installation view
Pine Creek Center for the Arts
Rochester, MI
Leftovers | 2012 | Hog Casing, Pigment | Installation View


Hog Intestines, pigment, acrylic
Leftovers | 2012 | Hog Casing, Pigment


Cristin Richard seizes her own fantasies and contradictions to bring the conscious sense to the viewer, pushing them to use their own intuition.  With “Leftovers”, she draws a metaphor of the ironic question about seduction between man and woman.

The word seduction stems from the Latin word “Sèducere”, which means to obtain favors from another. Rituals of seduction are universal, as are found in the world of plant, animal and human.  It must first attract the attention of the one it wants to conquer, the main goal is to take the emotional control and ensure a source of pleasure. In all species, it is the female who is the subject of seduction and the male who is the object.  For that women will enhance their physical charms to attract attention.  Women provoke, and men parade.  Then the dangerous game of attraction is engaged, the heady vortex, this struggle, this power dynamic, which only a part will be the winner.

“LEFTOVERS” will be displayed hanging from a string, spinning slowly as the carcass of an animal, a booty, the hunter’s trophy, who manages to build trust with his prey, then to dispose of her as he wishes …

The works of Cristin Richard oscillate between fragility and violence, between beauty and repulsion, between opacity and transparency and also between strength and lightness.  It explores our relationship to the body, relative to the most intimate fragments of the mind.

 Kenza Amrouk

Detroit Design Festival
Installation view at Frontera
Hog intestine, pigment, acrylic
Leftovers | 2012 | Detroit Design Festival

Domesticate Me.

“Domesticate Me”, the first exhibition in France of Cristin Richard, presented by La Découpe.

Using sculpture, Cristin Richard investigates a wide range of artistic, psychological and sociological topics.  Her works question identity, female sexuality and social standards.  Experimenting with colour, texture and transparency allows her to transform a repulsive material into something beautiful.  Her sculptures are often complex metaphors of women’s roles in society.  Some pieces can also be worn, which transforms the experience into a whole performance.  Furthermore, a unique performance was presented at the opening, in participation with Lydie Vareilhes, to music composed by Czarling.

For her exhibition at La Découpe, and after one month’s residence, the artist chose to introduce unique and original pieces, ironically questioning the duties of the housewife.  Her works, based around domestication of the female body in it’s interior, were presented in different rooms of the apartment/ gallery.

Life Line
Hog intestines, resin, acrylic
Life Line


Tea for One
Hog intestines, resin, acrylic
Tea for One


Washed Up
Hog intestines, resin, acrylic
Washed Up


Lamb intestines, resin, acrylic
5° CR  Wolf


Wolf (Detail of garder belt)
Lamb intestines, resin, acrylic
Wolf | Detail of Garder Belt


Left: Man’s Best Friend
Hog intestines, resin, acrylic
Right: From Dust to Dust (Vaccuum)
Hog intestines, resin, acrylic


Performance Still
Lydie Vareilhes from Opera national de Paris
La Découpe, Paris, France


Imelda Marcos.

Imelda Marcos
women’s size 5
hog intestine, resin, acrylic

Support Group.

Support Group
hog intestines, resin, acrylic, velvet, wood, plexi
30″ x 20″
Support Group