{"id":184,"date":"2026-08-26T09:46:40","date_gmt":"2026-08-26T07:46:40","guid":{"rendered":"https:\/\/sophiepouille.com\/?page_id=184"},"modified":"2026-08-27T13:55:48","modified_gmt":"2026-08-27T11:55:48","slug":"a-propos","status":"publish","type":"page","link":"https:\/\/sophiepouille.com\/en\/a-propos\/","title":{"rendered":"A propos"},"content":{"rendered":"
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A propos<\/h1>\t\t\t\t<\/div>\n\t\t
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Curriculum vitae<\/h2>


SOPHIE POUILLE
Born in Lille in 1983
Lives and works between Plateau d\u2019Hauteville, Haut-Bugey, and Paris<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2026
Man\u0113re<\/strong><\/em>, dispersed memorial, Entre les lignes<\/em>, Espace public de Bellegarde-sur-Valserine<\/p>

2025
Tarauds<\/em><\/strong>DRAC AuRA \u2013 AIC \u2013 Individual Creation Grant
Penser en dehors du capitalisme<\/em><\/strong>, group exhibition, lecture by Marie-Jos\u00e9 Mondzain, Montagne magique, Plateau d\u2019Hauteville
R\u00eaves d\u2019ao\u00fbt<\/em><\/strong>group exhibition, La C\u00e9sure, Paris<\/p>

2024
Rapports de constructions<\/em><\/strong>, group exhibition, \u00c9cole Nationale Sup\u00e9rieure d\u2019Architecture Paris-Val de Seine
30+1<\/em><\/strong>group exhibition, Le Clo\u00eetre contemporain, Lyon<\/p>

2023
R\u00e9golithes<\/em><\/strong>, solo exhibition, Atelier Babiole, Ivry-sur-Seine
Battre la campagne<\/em><\/strong>, group exhibition, Montagne magique, Plateau d\u2019Hauteville
Architecture, une hantologie<\/em><\/strong>, group exhibition, Les Limbes, lecture by Georges Didi-Huberman, Saint-\u00c9tienne<\/p>

2022
Par ordre d\u2019apparition<\/em><\/strong>, artist documentary film, Auvergne-Rh\u00f4ne-Alpes, by Guillaume Robert<\/p>

2021
Art Fair Dijon<\/em><\/strong>, group exhibition<\/p>

2020
Carbon 20,<\/em><\/strong> , group exhibition, Saint-\u00c9tienne<\/p>

2019
Architectures int\u00e9rieures<\/em><\/strong>, group exhibition, \u00c9cole Nationale Sup\u00e9rieure d\u2019Architecture Paris-Val de Seine<\/p>

2017
Architectures int\u00e9rieures<\/em><\/strong>group exhibition, L\u2019Attrape-Couleurs, Lyon
Espaces intuitifs<\/em><\/strong>, group exhibition, Fondation Salomon, L\u2019Abbaye, Annecy-le-Vieux
Le seuil des chutes<\/em><\/strong>, group exhibition, Centre d\u2019art contemporain de Lacoux, Haut-Bugey<\/p>

2015
Boites noires empreintes du monde et paysages int\u00e9rieurs<\/em><\/strong> group exhibition, Plan\u00e9tarium de Vaulx-en-Velin<\/p>

2014
Cabinet psychophon\u00e9tique<\/em><\/strong>, group exhibition, Galerie Jeune Cr\u00e9ation, Paris<\/p>

2013
Formes \u00e9l\u00e9mentaires, mouvements et g\u00e9om\u00e9tries de la pens\u00e9e<\/em><\/strong> , group exhibition, Espace d\u2019Art Guyancourt<\/p>

2012
Entropie N\u00e9guentropie, solo exhibition, Maison des Math\u00e9matiques et de l\u2019Informatique, Lyon<\/p>

COLLECTIONS\nClaudine and Jean-Marc Salomon Collection\nWorks held in numerous private collections<\/p>

2020-2026 : Director, Centre d\u2019art contemporain de Lacoux, Plateau d\u2019Hauteville\n\n2019-2026 : \nCo-founder, Montagne magique, Plateau d\u2019Hauteville<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Parcours<\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u00a0<\/h3>

Titles<\/h3>

For me, the birth of a title often begins with the desire to summon a word I do not yet know. I search, I dig, until I find the word that resonates, that resists, that teaches me something, and that can shelter a form of poetry. The same process guides the making of my works. I like to let my readings, my relationship with architecture, conversations, and the exchanges of everyday life settle within me, each becoming fertile ground from which desires and necessities quietly emerge: the need to begin working, to search for forms, and to find the tools capable of giving them substance.<\/p>

Beauty<\/h3>

I am not afraid of the word beauty. I seek it, I need it, and if I can evoke its presence, I am happy. I also like it when what appears is not immediately grasped. I invoke forms that recall more than they describe. My works\u2014even those in two dimensions\u2014remain close to sculpture. I draw libraries, formal alphabets of buried memories that I try to summon. I compose historical and geographical strata that complement one another, contradict one another, and reverse one another. Instability is my element.<\/p>

Narratives<\/h3>

My love of the narratives woven through my work has a dual origin. When I was in my twenties, I had the extraordinary opportunity to live among Pierre Bourdieu's library, occupying his remarkable apartment alongside Marie-Claire, who shared his life. The walls of the space I lived in, on the third floor, Pierre's former study\u2014formed cliffs of books surrounding me. I was twenty years old and discovering that thought itself could emerge through the organization of books: art alongside science, manuscripts beside literary works. It was profoundly moving to inhabit such an architecture of thought.\nA few years later, when I met Norbert Godon and, through him, discovered Aby Warburg, an impulse that had first been intellectual gradually began to take shape through new artistic productions.<\/p>

Dust\/Grisaille<\/h3>

Some time ago, my work revealed itself to me in a different light. I had forgotten the stories from my father's family, who worked in the coal mines of northern France, and those of my childhood in La Mure, in the Is\u00e8re region. The slag heaps, the spoil tips, the pieces of coal resting on shelves, the physical sensations evoked by descriptions of descending into the shafts: the heat, the candles, the blackened lungs, and the timber structures supporting the galleries.\nOn my mother's side were the blast furnaces that filled the windows of my childhood holidays, their cries, the showers of sparks that sometimes lit up the sky, the stories told by my grandfathers, steel, coal, pig iron, and the immense force of metallurgy. I think of them, of their gestures, their communities, extraction, matter, dust, fusion, and those monumental architectures: cold, beautiful, and strange. Today, this resonance seems to me to be an essential part of what binds me to that layer of dust, poised on the threshold between what separates it from the inside.<\/p>

Habitats<\/h3>

I live and work between the Plateau d\u2019Hauteville and Paris. I feel at home in both places. The Haut-Bugey has a landscape that, for the first time, made me feel that I belonged somewhere. There are cliffs, forests, springs, dark nights, luminous skies, and the open horizon of a mountain plateau. Paris has a different pulse, a different complexity: anonymity, encounters multiplied by sheer numbers, walls, details, small streets and great arteries that can appear differently each time you pass through them. I also value the distance between these two places, the possibility of moving from one to the other, and what that movement keeps alive.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Savoir-faire<\/b><\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Glass<\/h3>

Le verre est entr\u00e9 dans ma vie il y a une quinzaine d\u2019ann\u00e9es. J\u2019aime ses histoires, de celles de sa composition \u00e0 celles de ses utilisations multiples au travers du temps. Fen\u00eatres \u00e0 travers lesquelles on regarde, objets du quotidien de m\u00eame que mat\u00e9riau. On conna\u00eet le verre, il est partout. Sa transparence lui conf\u00e8re une pr\u00e9sence discr\u00e8te qui permet \u00e0 l\u2019espace de s\u2019y refl\u00e9ter. Ce que j\u2019y inscris dialogue avec les formes avoisinantes. La lumi\u00e8re le transforme, c\u2019est une toile rigide en mouvement; je la peins, la sculpte, la grave, la photographie.<\/p>


Grisaille Technique<\/h3>

Grisaille is composed mainly of a pigment based on metallic oxides, mixed with a flux, generally powdered glass. This powder is diluted with a liquid to obtain a material that can be applied to the surface of the glass. I work with it in a raw way to preserve its granular quality, which allows for a very high level of detail. I work by removing material in order to reveal the form, much as one might carve a block of stone. The paint is then fired.<\/p>

Historically, grisaille has been used since the Middle Ages, particularly for faces, drapery, architecture and details in stained glass. For my part, I use it as a form of writing. Through this artisanal technique, I seek to bring in everyday life, memory and the subjects of my research. For me, it retains a sense of mystery and exacting precision throughout the entire making process.<\/p>

\u00a0<\/p>

Display<\/h3>

I work alongside craftspeople including carpenters, metalworkers, and architects who help me design and produce custom display structures tailored to each project. I favour wood, whose presence enhances the work on glass. The choice of timber species depends on the specific needs of each project. I am currently exploring combinations of glass and stone for future installations.<\/p>

\u00a0<\/p>

Heritage and Matriheritage<\/h3>

I am interested in heritage as something living and constantly shifting. I see the forms that precede us as presences that are still active. I observe them, extract them, and bring them together, sometimes across several centuries or from distant countries, to compose a language of my own. Techniques, architectures, gestures, and objects are never fixed; they continue to circulate, transform, and generate new narratives. My first installation in public space opens up a new field of work that I am excited to explore.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

A propos Curriculum vitae SOPHIE POUILLE N\u00e9e en 1983 \u00e0 Lillevit et travaille \u00e0 Plateau d\u2019Hauteville, Haut-Bugey et \u00e0 Paris 2026Man\u0113re, monument diffus, Entre les lignes, Espace public de Bellegarde-sur-Valserine 2025 Tarauds, DRAC AuRA – AIC – Aide individuelle \u00e0 la cr\u00e9ation Penser en dehors du capitalisme, exposition collective, conf\u00e9rence Marie-Jos\u00e9 Mondzain, Montagne magique, Plateau […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-184","page","type-page","status-publish","hentry"],"yoast_head":"\nA propos - Sophie Pouille<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sophiepouille.com\/en\/a-propos\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A propos - 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