“I don’t establish a hierarchy between painting a picture or a plate. » Alexandra Roussopoulos is part of this movement of creators curious to explore other arts, such as the manufacture of everyday objects. “In my work and in my life, everything is linked, a cup is as important as a sculpture. I am more and more sensitive to the details that surround me. »
Of Swiss and Greek origin, the artist trained thirty years ago at the Camberwell College of Art, in London, where freedom of expression and rigorous learning of all pictorial techniques were combined. At 18, she discovered painting and the use of color. “I knew that I had found there a form of autonomy, a world of my own. »
“Alexandra Roussopoulos is a sensitive plate that continuously captures moments of vision, sensations but also emotions, affects, friendships…” Yves Michaud, philosopher
Regularly exhibited in London, Paris, China or Switzerland, this discreet and demanding painter finds her place with stars of contemporary art, such as Kiki SmithValérie Belin or Tatiana Found, in the book The Authentic. In the artists’ studios of the XXIe century, by photographer Catherine Panchout and philosopher Yves Michaud (Flammarion, 2020). This one writes : “Alexandra Roussopoulos is a sensitive plate that continuously captures moments of vision, sensations but also emotions, affects, friendships…” His painting often escapes blank canvases, ” without history “, to venture on all kinds of supports. Textiles, ceramics, walls, wood, glass…
The artist is involved with the same enthusiasm in the creation of a painting on an outdoor staircase in Greece, a series of landscapes on glass or the animation of a workshop for people with disabilities. His practice is nourished by these conversations, like the double chair welcoming the visitor as soon as he enters the studio. : a piece in solid wood, signed Gaudí, where two people can sit and talk comfortably side by side.
A screen like an unfolding landscape
His apartment-workshop near the Trocadéro is a vast white space from the 1930s bordered by giant bay windows, where the ceiling rises to 5 meters. Along the left wall, in shelves, are stored paintings, frames, equipment. The furniture is limited to a long dining table surrounded by all different chairs, a blue-grey chaise longue, a screen like an unfolding landscape. It is one of the artist’s last works, produced in collaboration with a young cabinetmaker, Déborah Marzona.
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