Born near Geneva in French-speaking Switzerland, nothing earmarked her for an artistic career. And yet we can perhaps see in her wild gambolling in the fields of her childhood, in a land where people still farmed, and farms were still numerous, the loam and foundations of what would become the basis of her work: a passionate quest for the light, and things immaterial.

         Her parents are art lovers and collectors, and it was in such a cultural environment that Caroline fashioned her sensibility and her culture, not in books but by living day in, day out surrounded by artworks.  They wanted her to pursue an artistic education at a school of fine arts, but after reading Malevich’s Writings, she wholeheartedly rejected anything to do with academicism, and decided to go to England on the day of her 18th birthday to be with her first love, a musician, singer, and composer—and a gifted artist. 

         The initial impact of Sheffield, where she lived in the underground world of rock music for a year, would naturally steer her towards Paris, that cultural capital where she decided to settle in 1987, enrolling in the Advanced School of Industrial Design, a choice dictated by the books she was reading and thus in step with the precepts of Russian Constructivism.

         As her professional activities developed apace, she decided to no longer give in to the compromises imposed by that work, and in 1993 she left Paris to live in the south of France, in Toulouse (pure chance).  There she rediscovered her rural routes and started to place cut-up mirrors in nature.  The work started to blend with its subject.

She exhibited at the Grange aux Belles in Paris, and took part in the Grands et Jeunes d’Aujourd’hui Salon, where her work caught the eye of galerie K, who offered her a solo show.

         In 1997, having gone to the Nîmes Féria to see a bullfight, a new and passionate encounter persuaded her to stay in that city, with its harsh light and its extreme climate.  In no time, her work and her talent interested both galleries and their visitors.  She responded to many private and public commissions, where her sense of space and the depth of her work went remarkably well with contemporary forms of architecture, finding their way with unerring aim into interstices and terrain that were anything but obvious, be it with a ceiling made of suspended mirrors and glass in the school building at Veyrier in Switzerland produced with the Ichnos architects, a piece measuring 7 metres/23 feet in the stairwell of the headquarters of the Crédit Municipale in Nîmes with C + D Architecture, or a work for the Eric Satie Museum in Honfleur with the architect François Confino. 

         She also produced many installations in religious places, where the spirituality of her work was revealed.  Her quest for immateriality magnified the places she used, presenting us with the invisible, examples being the Chapel of the Salamander in Nîmes, the Charterhouse of Valbonne where she occupied six chapels and two cloisters, and the Chapel of Perseverance…

         In 2006, on her return from South Korea where she had been invited to show her work at the Shilla Gallery in Deagu, she designed her house in a pine forest where she elected to set up home. (next)