Camille is in perpetual motion, and a lot of the film was trying to learn her rhythms: in the studio, in the editing room, in the foundry. Her interests are wide-ranging, but her ‘hand,’ and her particular way of looking at the world held things together no matter what she was working on. I’ve followed Camille’s work since first discovering Grosse Fatigue (2013) in graduate school, and there is a playful tactility and subtle humor in everything she makes, even when the subject matter deals with loaded ideas like climate change, mass extinction, child rearing, or the way institutional archives attempt to freeze time.
It was exciting to shoot this film over the course of a full year. That extended period allowed me to accumulate material (in New York and Paris) and observe the work changing and evolving in real time. I was able to see research and sketches become paintings, see the process of model making in the foundry translate into large-scale sculptures in a gallery, and watch elements of her film In the Veins evolve into the finished work.
It was a peek into her constantly shifting processes, and I feel lucky to have been a part of it.
—Adam Golfer
Director, “Camille Henrot: In Movement”
IMAGES: Production stills from the Extended Play film, “Camille Henrot: In Movement.” © Art21, 2026.
