Interview with Christel Petraud

Christel Delrieu Pétraud (CDP), born in 1976 in Toulouse, France, is an internationally famous artist, known for her innovative painting and artistic explorations combining mathematical logic and letting-go.

She obtained her baccalauréat in Arts and Letters in 1995, then went on to study visual arts and art history, obtaining a double degree in 1998. In 1999, she obtained a Master's degree in Visual Arts, specialising in colour. The following year, she graduated from the IUFM to become an art teacher, but ultimately did not integrate national education.

In 2012, however, she decided to devote herself entirely to her art, becoming a professional artist. Since then, she has lived and worked in France, where she continues to develop her unique artistic techniques. CDP finds her inspiration mainly in science, travel and the study of the human being. She has consistently explored radically new and innovative approaches to painting, blending mathematical logic and letting go to explore themes such as reality, identity and beauty. Her work has been shown in numerous solo and group exhibitions, as well as at art fairs in Europe and the United States. Some of her work is held in major collections, including the Palestinian Museum US in Woodbridge, Connecticut.

She expresses her artistic motivations in these terms : ‘My incessant questioning of human nature and the world around us stems from an insatiable curiosity and a utopian search for truth. I believe it is necessary to represent the immaterial - to see in order to believe. Art allows me to offer my interpretation of truth in images, to see the invisible, to construct the immaterial and to capture time. It's an invitation to consider other points of view. ‘

Through her deconstructions of the infinitely small and the infinitely large, CDP enables viewers to see aspects of the world that the human eye cannot usually perceive. In this way, she opens the door to unsuspected parallel universes, making them palpable. Her collaboration with leading scientists has led her to develop a matrix language that is both scientific and aesthetic. Her work, as educational as it is pictorial, teaches us humility and sheds light on our relationship with our environment. CDP continues to influence and inspire through her art, offering new and profound perspectives on the human condition and our perception of the world.

Can you describe the moment or experience that initially sparked your interest in blending science with art, and how has this intersection evolved in your work over time ?

My passion for science and art has its roots in my childhood. In our home, a plethora of scientific, historical and photographic books enriched my daily life.

During my adolescence, the death of my father aroused existential questions  in me  about the meaning of life. These pushed me to explore the composition of the universe, to understand the nature of man on a physical level, even before searching for my identity.

Although I could have opted to study physics or mathematics, my attraction to art prevailed. It was obvious that my scientific questions would find their place in my artistic practice. My first artistic creation projects mixed painting and digitization. At that time, I immersed myself in the creation of digital images, zooming in extremely on my own pictorial works, thus exploring a change of scale offering immersive installations : the visitor could explore the depths of the material and the uniqueness of each nuance while getting lost in abstract spaces.

To me, both the physicist and the artist share a number of universal questions. They question our constitution, our origins, our place in the universe. Their quests guide them on different paths, but converge towards a common goal : to give meaning to existence. It is essential to recognize that this research aims to avoid considering the possibility that our existence is insignificant, superfluous, or meaningless.

“The math always takes you somewhere interesting.” – Henri Segerman

If mathematics and physics are the language of the fabric of reality, it is tempting to confront them in a rigorous manner. So, over time I have looked for logic in my observations, I began to impose a mathematical constraint on my creations and see where it could lead me. When I observe something beautiful, I try to guess its standard. What would the beauty equation be ? And, conversely, it’s fun to discover the beauty of an algorithm.

Your approach to painting incorporates both mathematical logic and the concept of « letting go. » How do you balance these seemingly opposite methods in your creative process, and what challenges do you encounter ?

Indeed, the design is inspired by science and the implementation has an unpredictable element, due to the moment. This duality provides a leitmotif for always experimenting and surprising yourself. It is the moment when we voluntarily lose control that everything is at stake.

Scientific inspiration is a starting point in almost all of my work. Sometimes for the rhythm I take inspiration from mathematics. I often use the decimal places of the number PI, I associate each number with a color, for example. Other times for composition I created a geometric alphabet inspired by quantum physics in the “Matrix” series.

It is only the framework of the creative process, the moment of implementation, the gesture, the choice of the tool, the material, etc. I do not forbid myself from any last minute changes it is a moment of freedom and I am the first disappointed if everything goes as planned, so there are also failures.

Collaborating with scientists is a hallmark of your work. Could you share how these collaborations come to be and how they influence the development of your projects ?

Of course, collaborations with scientists often arise from a shared interest in a particular topic or problem. They can begin with informal discussions at conferences, exchanges on academic forums, or even through online professional networks. Once a mutual interest is identified, we typically proceed with meetings.

One of them was essential for the MATRIX series, the most conceptual of my artistic orientations. Inspired by my readings on quantum physics, I had created a standardized representation of nano particles. I was looking for approval for some of my ideas and I had the chance to collaborate with a great specialist in the functioning of our brain. And AI, Professor Newton Howard. From these absolutely fascinating exchanges and the observation of brain activities, I used my matrix to create a graphic alphabet directly inspired by the movements of our neurons and invisible particles.

These letters, although complex, can connect from all sides and I use them as a building block. They convey a fluidity and dynamics that reflect the very nature of thought in movement : our network.

Each word formed with this alphabet seems to vibrate, reminiscent of the dance of subatomic particles in invisible space. This approach allowed me to transcend the traditional limits of writing, by introducing a dimension where art and science meet and enrich each other.

This fusion between scientific abstraction and artistic expression offers a unique window into the mysteries of the human mind, an invitation to explore the depths of our consciousness with curiosity and wonder. My subjects have no physical limits, the notions of interior and exterior are not defined. The infinitely small and the infinitely large are similar in their representation. Each painting is an exploration, an attempt to capture the very essence of thought, to materialize the impalpable.

Spectators are invited to get lost in these winding mental landscapes, to let their own consciousness wander freely, and why not discover some coded messages.

You’ve mentioned that your work aims to « see the invisible, construct the immaterial, capture time. » In your view, what is the role of art in society, especially in an era dominated by digital technology and scientific advancement ?

Art has always evolved as a mirror of society and our Humanity. It plays a fundamental role, creating bridges between individuals, eras and communities. The artist expresses himself, shocks, testifies, shows, transmits and allows us to ask essential questions about our existence.

Faced with the rise of digital technology and the progress of artificial intelligence, in a society where information is often consumed quickly and superficially, art should be an antidote by offering an alternative, a space for pause and contemplation. But I am not optimistic on this point and the danger of seeing art become poorer is there, “AI artists” are among us. Art will be able to play this crucial role for a long time to come.

Representing the immaterial is a significant aspect of your art. What techniques or materials do you find most effective in translating these abstract concepts into tangible artworks ?

Using colors, textures, and shapes can be particularly powerful in evoking intangible emotions and ideas. Of course, by the choice of colours you can easily observe that my palette is extremely wide. Soft hues and subtle colour transitions can suggest feelings of peace or nostalgia, while sharp contrasts and sharp edges can express tension or excitement.

Mixed materials, such as acrylic combined with elements such as sand, silicone or gold leaf, add a tactile dimension that enriches the viewer’s sensory experience. Textures play a role, mixing softness and roughness, matte and shiny, smooth and grainy. The viewer is encouraged to touch with his gaze, to feel the imaginary surfaces. Transparency and superposition effects add a further dimension of mystery, revealing elements invisible at first glance.

Using symbols and visual metaphors is another effective method. For example, recurring patterns like lines can represent infinity or the cycle of life. Geometric shapes can be a code to decipher and reveal a secret. Emptiness, blurring and erasure can be a way of representing absence, forgetting or the fragility of memory. This approach allows you to play with perceptions and invite the viewer to deeper reflection. Very strong contrasts, fullness and emptiness can symbolize the duality of existence, good and evil, or even knowledge and ignorance.

Finally, we must not underestimate the external dimension of the work, the location and the scenography are additional possibilities for translating a concept. By playing with projected shadows and reflections, we can suggest hidden dimensions and multiple realities, thus enriching the viewer’s perception and inviting them to contemplate beyond the visible.

In your « Shadow Colors » series, shadows transition from being ephemeral to becoming the main focus, rich in color and texture. This series offers different experiences : vibrant abstracts up close, figurative compositions from afar, and glowing elements in darkness. Could you share the inspiration behind elevating shadows in this way and the challenges faced in achieving these diverse perceptual layers through your artistic process ?

My inspiration for « Shadow Colours » comes from observing the play of light and shadow in nature and the environment. For example, the movement of shadows makes it possible to measure the time passing on a sundial. In this series the lines punctuate time, each represents an instant and the next line “overshadows” the previous one which fades away, like a chronology. I seek to capture the essence of the passing of time, to show how each moment is unique but part of a greater whole. They are done one after the other in order and together create a visual story. By putting them at the center of my work, I wanted to show that they are much more than passing reflections ; they are living, changing and expressive entities.

The challenges were numerous. First, it was necessary to deconstruct the traditional notions of light and shadow. Working with colored lines requires an understanding of colour theory and how they interact with each other. Mastering the subtleties of gradients and textures was crucial to bringing shadows to life in a believable and captivating way.

Then my paintings work at different levels of perception. Vibrant abstracts, visible up close, transform into figurative compositions seen from afar, while retaining their coherence and visual impact. The formats are necessarily large to allow this experience. Playing with luminous elements in the dark adds an additional dimension, almost magical, but also technical to manage.

The interaction between colors and lines then becomes a silent dance, a visual dialogue where each element has its place and its importance. Thus, my works are not just attractive portraits, but portals to inner worlds, invitations to reflection and contemplation. Each viewer can find their own meaning, their own emotional journey through the shadows and lights.

Ultimately, “Shadow Colours” is a celebration of the light hidden in darkness and an invitation to see the world from a new and enriching perspective.

Your work is described as educational as well as pictorial. How do you envision your audience learning from your art, and what do you hope they take away from it ?

First of all, I think that everyone can be enriched as long as they are curious and this is an opportunity for me to thank the different exhibition venues that allow visitors to be curious about my work.

To look at it and see it… The longer we look, the more we can see.

Art, ultimately, is a mirror of the human soul, a means of transcending the limits of the visible to touch the invisible. It is an invitation to meditation, introspection, and appreciation of the beauty hidden in the most subtle details. I therefore invite you to dive into this universe, to let your senses and your mind wander, and to find your own truth through the twists and turns of my creations.

Just realize that we never see EVERYTHING and that our brain constructs a unique and individual perception. Our perception of reality is broken by a filter that is unique to each person. In my works I hope to shake up the idea of normality.

In this sense, the sublimation of the filter which is at the center of my study is didactic. A demonstration of illusion to doubt normality.

Contemplation of my works invites reflection on our own existence and our perception of the world. By exploring these themes, I hope to encourage viewers to embrace the complexity and beauty of imperfection. Each look at a work is an opportunity to rediscover and reinterpret reality, to reconnect with a personal and subjective truth.

Thus I question and analyse the concepts of identity and reality, questioning traditional conceptions and proposing a more nuanced and complex approach to these fundamental questions in philosophy. Duality and contradictions sow confusion and make us question reality. Scales are not usual. The vibrations created by the lines (in the Shadow colors series), the movement and the erasure created by the blur (in the Blur series), the camouflage created by the construction of the matrix (in the Matrix series) are all sublimation of the filter that brings us back to our finitude. The ephemerality and fragility of everything, the subject seems to fade away.

Travel is one of your main sources of inspiration. Could you share an example of how a specific place or culture has directly influenced a piece or series of your work ?

It is true that in my artistic creation, travel is a recurring source of inspiration. It is generally an opportunity to leave my paintings aside in favour of photography, I capture atmospheres, lights and colours that give me emotions, I love taking photos, writing down sentences, making a few sketches, it’s a source of artistic inspiration that I implement later. I then try to understand why I was sensitive, what equation made this moment worth capturing. Thus, each trip becomes a sensory adventure where every detail counts.

To give a very specific example, in Venice, a small house with a pink and green facade, near the Palazzio Mora, I immediately saw a painting in which I was going to use these tones and nuances in the same proportions to preserve the balance that I found particularly harmonious. And for detail, the title of the work is that of the place that inspired it. These experiences are possible everywhere and even at home, it’s all a question of having a voluntarily attentive and active eye. Every moment of our daily life can become an excuse to create if we know how to look at it carefully. The changing colours of the sky at daybreak, the reflection of light on a cup of coffee, watching a tiny movement of leaves in the wind when you thought everything was still – all of this can be a source of inspiration. By cultivating this attitude, I learned to see beauty in ordinary things, to appreciate the ephemeral and to capture the essence of fleeting moments.

I didn’t feel any frustration during the lockdown periods. I was able to rediscover my personal space in a new light, exploring every corner, every play of light, every detail that previously escaped me. My walks limited to the garden or the window offered me new scenes, unexpected compositions, plays of shadows and lights which inspired me to new creations.

Constraint is often a powerful engine for creativity. Deprived of the possibility of traveling physically, I traveled mentally, revisiting places through my memories, my photographs, my sketches. I found a new pace of work, more introspective, more in tune with myself. Thus, this period allowed me to strengthen my artistic practice, diversify my sources of inspiration and continue to create, even in the absence of external stimuli. My art was enriched by this introspection and took on a more personal, deeper dimension.

What advice would you give emerging artists striving to carve out their unique path in the art world, particularly those interested in fusing art with other disciplines such as science ?

For me, art is above all a means of expression and a space for free and infinite reflection. Fusions with other disciplines should be considered as an additional subject. More than advice, I would prefer to give encouragement to work, an encouragement to practice, dissatisfaction is a driving force which pushes us to always seek, to experiment and to surpass oneself. Thus, each failure becomes a learning opportunity, each doubt an invitation to explore new paths. Art, in its diversity and richness, is a mirror of our humanity, a reflection of our emotions, our dreams and our questions. It is a universal language that transcends borders and cultures, a bridge between souls. By cultivating this perpetual quest for meaning and beauty, we participate in the construction of a more empathetic and harmonious world. Let’s practice !

WEBSITE : https://www.christel-delrieu-petraud.com/

INSTAGRAM : https://www.instagram.com/christelpetraud/