Practice
How the work is made, and what it asks.
The artistic research presented here revolves around the invisible tensions that run through the body, the object and space. Moving beyond descriptive representation, the aim is to explore how painting can convey social and psychological dynamics that are difficult to articulate. The works explore states of transformation, constraint and memory by bringing together figurative and abstract forms.
Artistic approach
My practice is rooted in the materiality of oil and acrylic painting and of mixed media, including wool and paper relief. It is informed by several years spent between India and France, where I led public art projects, participatory workshops and educational programmes. Community engagement and visual storytelling are reflected in my compositions, where the fragmented body interacts with architectural or organic elements. This approach aims to reconcile personal exploration with a social and educational dimension.
Materials
Oil, acrylic, watercolour, enamel, thread, wool, Indian textiles, paper relief, ink on paper, installations in situ.
Three formal axes
- 01
The body as social archive
Fragments of bodies and suspended gestures reveal the traces of collective experience within the individual form.
- 02
The object as a vector of memory
Objects and architectural motifs act as symbolic mediators and condense implicit narratives.
- 03
The space of relation
The composition opens a relational space in which painting becomes a meeting place between the intimate and the collective.
Painting as a sensitive instrument
In my compositions, body, object and space often appear fragmented, suspended or held in tension within unstable structures. This formal instability is a way of questioning states such as memory, displacement, transformation or social constraint.
Painting is understood here not as a simple representation of the visible world, but as a sensitive instrument for translating experiences that are difficult to name: inner tensions, social pressures, traces of the past or forms of shifting identity.
Although painting is often perceived as an individual practice, it can enter into dialogue with collective questions. The experience gained in educational and community settings feeds this reflection: how visual creation can become a space of mediation between personal experience and its social dimension.
Inner Hues ateliers
Inner Hues is the name under which the artist works and the name of her participatory ateliers: art is by everyone and for everyone.
Since 2015 my work has been part of participatory art initiatives that aim to make creation accessible to varied audiences. In India I contributed to more than twenty community art projects, including collaborative murals, creative workshops for children and artistic interventions in schools, in partnership with public schools, NGOs and cultural institutions.
In France this engagement continues through visual arts integrated into language learning, workshops encouraging children's creative expression, and the Inner Hues ateliers: a weekly space where participants make a work and tell their own story, and take their creation home. I consider art a tool of social mediation and learning, capable of creating links between different cultural contexts.
