Born in Bandol, France, in 1979
Studies for 3 years at the ecole supérieure des beaux arts of Toulon-DNAP.
En 2001 moves to Barcelona to finish her studies at the 'Universitat de Belles arts of Barcelona', Where she will live till 2008 and where  she will discover her love for spanish comtemporary art and colour.


• 2013 - 2015 : Couleurs et Abstraction, in partnership with Le Castellaras 461 chemin de Peymeyan 83440 Fayence
• 2014 : Domaine de La Roque - La Cadière d’Azur
• 2013 : Pullman Cannes Mandelieu, 18 September -31 December 2013
• 2013 : Novotel Monte Carlo, 22nd February - 14th June 2013
• 2013 : Ivan Chevillotte & Beddington Fine Art, Munich, 17 November 2012 - 1st may 2013
• 2013 : Centre Médical Tassy, Tourettes Var 83440, 31january - 31st march 2013
• 2012 : La Brasserie Bertin, Draguignan, 14th September - 1st December 2012
in collaboration with Beddington Fine Art
• 2012 : Centre Culturel de Bandol, rue Gabriel Péri, 83151 Bandol, 16 to 28th October 2012
• 2012 : Ivan Chevilotte Kaiserstraße 23 | 80801 Munich, Germany 18th November 2012 to May 2013
in collaboration with Beddington Fine Art
• 2011 : « La pensée en couleurs » 30th  August  to 28th October 2011, by appointment
Club Premier Barclays de Grasse - in partnership with Beddington Fine Art
225 route de Cannes 06130 Grasse - France
• 2011 : « Apprenez à penser en couleurs et vous verrez le monde autrement » 23rd March to 14th May 2011
Beddington Fine Art Bargemon - France
• 2008 : Hôtel Grand Marina *****GL - Barcelona - Spain
• 2007 : Galeria Montsequi - Madrid - Spain
• 2006 : Galeria Palau de la Mercé - Girona - Spain
• 2005 : Galeria Sumbaya - Roma - Italia


• 2013 : Art Monaco, April 2013
• 2012 : Beddington Fine Art Seillans, La Magnanerie de Seillans, 13th October 2011 - 31st January 2012
• 2011 : Art Deco Aix - « Salt and Pepper » Aix en Provence - France
• 2011 : MDBA - Marseille - France
• 2011 : Beddington Fine Art - Bargemon - France
• 2010 : Galerie Patrick Pierre - Cassis - France
• 2009 : Beddington Fine Art - Bargemon - France
• 2008 : Galerie de Medicis - Paris - France
• 2008 : Alchemilla Mate - Roma - Italia
• 2008 : Galerie Pablo Ruiz - Malaga - Spain
• 2007 : Galerie Montsequi - Madrid - Spain
• 2007 : Galerie Palau de la mercé - Girona - Spain
• 2006 : Galerie de Medicis - Paris - France
• 2006 : Galerie Palau de la Mercé - Girona - Spain
• 2006 : Galerie Courant d'Art - Mulhouse - France
• 2006 : Galerie Anna Tschopp - Marseille - France
• 2005 : Galerie Courant d'Art - Mulhouse - France
• 2005 : Galerie Betemps - Bons-en-chablais - France
• 2004 : Galerie Courant d'Art - Mulhouse - France
• 2003 : Galerie Sumbaya - Roma - Italia
• 2002 : Galerie Gravera - La Garde - France
• 2001 : Galerie des Riaux - Toulon - France


• 2008 : ART INNSBRUCK - Innsbruck - AUSTRIA
• 2007 : ST'ART 2007 - Estrasburgo - France
• 2007 : IBERARTE - Zaragoza - Spain
• 2007 : MARB'ART - Marbella - Spain

« Learn to think in colour and you will see the world differently ! »
« It is as well to understand the significance of colours, as they condition our behaviour and our manner of thinking, but, once one is aware of their attributions, it can be put to the back of one's mind and we can then contemplate colours as connaisseurs and experience them with spontaneity and a certain innocence. » Michel Pastoureau

The role played by colour is constantly evolving in LUME's work. Strongly influenced by the conception of chromatics as defined by Michel Pastoureau, LUME aims to transmit in her canvases the importance of colour in our perceptions, behaviour and in our emotions.
From this point of departure, the artist favours colour over and above form upon canvases born of the desire to transmit the fruits of her inner contemplation without resort to words or images, and forming successive layers, each a silent witness laid on the wilderness of a monochrome backcloth.
The gesture of seeking to visually transmit instantaneously a thought, an emotion, to crystallise a fragment of life by a shape, a gesture or a colour (or an association of colours) becomes a reassuring waymark in our desire to exist.
« Painting, and colour specifically, guides me in my resolve to discover my emotions, my fears and my doubts, helps me learn to manage and to live with them for the time it takes to complete a canvas : it permits me to feel FREE. »


The fact of my living seven years in Barcelona undeniably underscores Tapiès as a major influence in my exploration of matter and application of sundry materials, but far from being the only one, the intense blacks of Millares's mixed media canvases, Saura and others from the 'El Paso' Movement are and have been important to me. Following my mother's illness and premature death, colour began to play an important rôle in my paintings.
Beginning with black, powerful and majestic, an expiatory and appeasing colour capable of absorbing my suffering and incomprehension at this grossinjustice, expressed in frozen voluminous forms, as protuberances seeking to escape from the canvasses'surface, contrasting, one could say, almost agressively with the foundation colour.
Little by little, and day by day, colours and movement crept in more and more as in a soothing therapy, as if to state that, without invalidating each stage of my rehabilitation, to be able to claim that once more one can step forwards, that this terrible suffering is quantifiable and that life can go on.
At that point, my interest settled on artists such as Mark Rothko, Barnett Newman, Cy Twombly, Degottex, Motherwell, Basquiat, Fabienne Verdier and many others, as well as on Japanese and Chinese art and calligraphy, where purety, silence, emptiness and amplitude conjoin... which is my current quest to transmit onto canvas.


This is an imaginary or unconscious calligraphy which does not correspond to any existing language (so gaining in universality) which manifests itself as a kind of repetitive and liberating gesture. It is the final touch I put to my canvases. It serves to give a certain balance to, and an aid to "reading" the composition, and is purely graphic, inspired by the Japanese and Chinese art of calligraphy. The viewer sees or attempts to recognise words, names (their own sometimes !), and ponders over this inherent desire to strive to identify something real or figurative within abstraction.

My signature
I have always signed on the reverse of each canvas, as what appears on the front already represents me sufficiently. Having already invested my entire soul and emotions, my most intimate confessions, I have no wish to add anything so narcissistic and individual as my name. I would rather the viewer take total possession of the canvas and be absorbed in colour.

The medium
Since graduating from Art Schools (Toulon in 1999 and Barcelona in 2001), I have always sought to work with unconventional and heterogenous or diverse materials. Principally influenced by the movements "Support/Surface" and "El Paso", my overlaying in volume came from 2001 onwards in Barcelona through my interest in artists such as Tapies, Cy Twombly and many others, among whom Millares stands out, with his canvas sewn onto canvas and his own use of a kind of imaginary calligraphy. In 2005, on learning of my mother's illness, I commenced a lengthy study based on the notion of combat, of duality...and the volume grew in direct relation to the size of her tumour. It can be seen in my works that are sewn, stretched, torn, knotted, abused, but then, gradually the voluminous form softened to make place for colour, for healing. I use oxydisation to represent the passage of time, a living, evolving element on my canvas, as if haphazard and beyond ones' control.

Var Matin october the 3rd 2011
Var Matin october the 22nd 2011

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