Born in 1970 in Toulouse, a graduate of the École des beaux-arts de Nice.
Born in 1970 in Toulouse, a graduate of the École des beaux-arts de Nice. She lives and works in Paris, teaches at the École supérieure d’art de Rouen and was a resident at the Villa Médicis from 2009 to 2010. Born in 1970 in Toulouse, Béatrice Lussol is a French draughtswoman, painter and writer. A graduate of the École des beaux-arts de Nice, she lives and works in Paris while teaching at the École supérieure d’art de Rouen and exhibiting her work. She entered literature in 2000, in the collection ‘Le Rayon’, directed by Guillaume Dustan. From 2009 to 2010, she was a resident at the Villa Médicis. Béatrice Lussol obsessively works the vulval form, multiplied, becoming vibrating landscapes and theatres of fairy-like detail. She practises collage, writing, painting or drawing, a question of terminology of little importance; she uses watercolour, this so-called hobbyist medium – Sunday painters, etc. – in the service of a body of work she accepts being described as committed and feminist; she draws on the rosy softness of watercolour, on its wet quality, that of mucous membranes and flesh, explicit, volatile, deep, light and directed, yielding fictions or twisted organs that are funny and/or disturbing, shelters of nutritive and energetic elements, down to their crumbling, in fragments, into relative abstraction. Lines enclose the forms, they enclose the colour, proliferate in waves, as if to stratify the thickness of flesh, to speak of metamorphoses hollowed out with caves and crossed by folds. The vulvas oscillate endlessly, open and collapse like landslides; their skins make a kind of soft, new chaos vibrate. The fluidity of the watercolour takes on impure residues from stagnant water drawn from the dusty bottoms of tea cups; when the pool of paint dries, it pulls at the paper and the line, and the slightly dirty deposits generate craquelure: an organic accident that she claims to control. In her drawings, no off-screen or horizon exists, nothing that signifies that the form is anchored in a tangible, recognised space, for it concerns another, liberating space.
