Perrine Boudy
Perrine Boudy (born in 1995 in Versailles) develops a practice that combines drawing, ceramics, and installation, where body, object, and decor intertwine with humor and delicacy. A graduate of Villa Arson (Nice, 2023) following her studies at the Atelier de Sèvres, she explores an aesthetic of the fragment and the motif, oscillating between antique reference and contemporary pop sensibility. Her universe blends the playful naïveté of sketchbooks with strong formal control, each piece becoming a narrative space, a kind of miniature theatre.
Her work has been shown at Drawing Now (Paris, 2024), Ceramic Brussels with Sorry We’re Closed Gallery, as well as at Galerie Valérie Delaunay (Paris, Marseille, Villefranche-sur-Mer) and Villa Arson. She also collaborates with everyday spaces such as the Hôtel Amour (Nice), merging art and daily life.
Featured in Beaux Arts Magazine, Art Press, The Drawer, and Maison, Boudy stands out as an emerging voice in the young French art scene, where ornament once again becomes a field of critical and sensuous exploration. She lives and works in Nice.
Very inspired by Christian Bérard, Betty Woodman, Matisse, and Valentine Schlegel, I do not define myself as a ceramist but as a drawer. This is very important to me because I would like my drawing to become a way of thinking/seeing things. There is this excerpt from 'I Sleep, I Work' by Valentine Schlegel that has brought me a lot: 'I am a woman – I chose hidden places to express myself. The interior of 'my' house – it was a ruin – I dared. I did not try to create a work of art. I had to live and survive with what I had – a solid body. A work linked to the body, the utilitarian. I love the exceptional everyday. I start from the gesture – when I build or create objects. From 17 to 53, if you do a lot, many things happen. And I do it all the time.
Graziella Semerciyan writes about her work: 'Perrine Boudy, freshly graduated from the Villa Arson, presented a final exhibition reflecting her favorite subjects. Drawing, volume, and spatial arrangement are intimately linked and develop according to repertoires that combine a strong taste for antiquity with a very synthetic treatment of drawing that evokes illustration plates and plays with the notion of series. Her repetitive freehand drawing is a way to also play with the deformation of the motif, and this impression is reinforced when the line runs across the volume of the flattened vases she assembles herself, which find their balance on a thread.'
