From her teenage years, Morgane Parmentier was trained in various techniques at the Troyes Municipal School of Fine Arts. Through her studies in the visual arts, she gradually developed a practice largely grounded in experimentation. Drawing, acrylic painting, textural elements, and gilding converge in a process of repetition, observation, and artistic exploration that contributes to the evolution of her pictorial language.
Her artistic approach centers on the human condition, psychology, and resilience. She explores the emotions, vulnerabilities, and tensions that people learn to conceal, as well as the pressures and obstacles individuals, particularly women, may face in society.
Through her work, she aims to reveal these inner vulnerabilities and examine how they shape identity. Kintsugi, the Japanese art of repairing broken ceramics by highlighting their fractures with gold, occupies a central place in her work. Parmentier applies this principle to the human form, revealing flaws, wounds, and trials as traces of a history and manifestations of a capacity for transformation rather than concealing them.
This reflection is expressed visually through a constant search for balance between opposing elements. Light interacts with shadow, precise brushwork with freer and more chaotic areas, representation with abstraction, and fragility with strength. The surface of her works is structured, textured, and marked by cracks and fractures, which play a key role in the tension of the works.
Her deliberately limited color palette features shades of blue, black, and beige, accentuated by gold accents. Gold serves as an element of revelation, highlighting imperfections and accompanying breaks. It also symbolically transforms the fissure into a point of light.
Thus, her work creates a space in which the hidden can become visible. By making vulnerabilities and fractures visible, Morgane Parmentier explores not so much the wound itself, but rather what it reveals about the individual, their identity, and their ability to rebuild themselves.
