Perrine Boudy
I draw. On all types of surfaces, a drawing in various forms: starting from paper, my line escapes towards ceramics to then cover walls, floors... and why not ceilings. To explore, to endlessly explore the line, to make it as fluid as possible, for it to be the bond between all these mediums, that is the central point of my research: to create a universe that encompasses, a total space. “Bringing the outside in,” that is something I try to do every day; how to create an intimate (or public) space while providing a reflection on “what art should be for me,” something that goes beyond the white cube, at the intersection of decorative arts and fine arts. It is from there that I strive to test my creativity daily: drawing on plates that could be eaten from, contemplating a “wallpaper drawing” to “decorate” my room, thinking up imaginary models to eventually realize them at a one-to-one scale, creating unusable jars because they are unglazed... The limit is always minimal; crossing it does not interest me, but rather playing with the codes of one or the other together.
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.'
