Originally from the theatre world, today she works on mask and portrait themes to "unmask" her emotions in ambush, and to unveil the screen. Whether the artist’s work is with charcoal, pastels or paint, it has been on the same track for several years. She focuses on corporal and facial scenography. And throughout her primarily colourful and luminous (pastel) pieces, she tends toward expressionism without concessions, becoming the unique character on the stage with portraits which are, as such, self-portraits.

Sylvie Poinsot belongs to a family of artists who develop a piece with one sole theme, which she develops without ever repeating or copying herself. She feels her way forward. "I’m slow, I have to experiment,” she says. This means using dry pastels “on the defensive body” of this sensual, suave material. She violently glorifies the softness of colour with her strokes, and diverges toward the dislocation of bodies and heads, joyously subject to “the question” of space. As if to torture even more what must come from her own story. Behind the mask. Always and forever. First with her stamped, almost sketched, heads that glide over the paper. Then deadly faces and bodies, pouring out in stratum, colours and splashes, all unwinding a heavy, secret story that has, however, left the space of non-expression. “I don’t always go in through the same door. I paint with jubilation even if suffering is what comes out. I allow what must come to come by condensing everything in the gaze,” she explains.

In order to better reach the depths of this unknown hidden within her, she has kept on with her drawing teacher’s technique, allowing the right and left brain to communicate without annihilating the possibilities of one or the other. To do so, she starts up her portraits with her eyes closed, with her left hand and with charcoal, to make the brute shape gush up, and thereby with this first impetus, “remove her fears”. She throws herself at the canvas like a dancer on the stage.
She then opens her eyes, and still with her clumsy left hand, continues to construct her composition based on what has sprung up; her right hand, the intellectual one, then takes the reins to make the colours shoot out.

“Be wise, oh my pain," Baudelaire perhaps murmurs to her, all while Kandinsky, Emile Nolde, Munch and Kirchner rise up from her personnel Pantheon.
Brigitte Camus-February 2012
Traducteur : Samuel Kastin-Mattern

Texte critique du critique d’Art italien Salvatore Russo

Volti che diventano la più fedele testimonianza dei pensieri dell’essere umano. Volti che confessano le loro verità. Volti che hanno la stessa forza evocativa dell’urlo di Munch. Volti che vengono dipinti dall’abile mano dell’artista Sylvie Poinsot.
L’artista nelle sue opere pone grande attenzione alla mimica faciale delle sue figure. Mimica che è l’espressione di cio che in quel momento la figura rappresentata pensa. Sentimenti ed emozioni. Il volto diventa una sorta di diaro autobiografico sul quale scrivere i propri stati d’animo. La tecnica utilizzata è molto singolare. Non vi è iperrealismo e le figure hanno contorni labili e appositamente non definiti, per dare maggiore importanza al concetto stesso che vogliono esprimere. La cromia in tutte le opere è decisamente straordinaria, andando oltre il commune vedere delle cose.

Salvatore Russo- « SEGNALATI » - 2013

Texte critique de Adelinda Allegretti

Prima di arrivare al giro di boa della mostra, dove il dramma lentamente si stempera giungendo persino a strappare al visitatore qualche sorriso, va citata l’opera di Sylvie Poinsot, Sans titre (2011). Un volto che sembra liquefarsi sotto il peso dell’esistenza, la bocca trasformata in una smorfia. Solo gli occhi mantengono una fredda lucidità. È il ritratto della consapevolezza della drammaticità della vita umana.

Adelinda Allegretti- « Con i fiordi negli occhi. » Omaggio all'Urlo di Munch Mars-Avril 2014

COLLECTIVE EXHIBITIONS
2014 April ARTEXPO NEW YORK Art contemporain Artifact Gallery New York U.S.A.
2014 March to April Con i fiordi negli occhi. Omaggio all'Urlo di Munch
Art comtemporain Museo del Mare Genoa Italy
2014 January Biennale de Rome Art Contemporain Sale del Bramante Rome Italy
2014 January Premio Michelangelo Art Contemporain Gadarte Gallery Florence Italy
2013 November Selection Biennale de Rome 2014 Art contemporain Galerie « Il Collezionista » Rome Italy
2013 November Les Hivernales Art Contemporain Palais des Congrès Montreuil France
2013 October Nel Segno della figurazione Art Contemporain Galerie IL TEMPIO Palerme Italy
2013 August VACANZE ROMANE Art Contemporain Coronari111 Art Gallery Rome Italy
2013 July LOOK AT ME Art contemporain Coronari111 Art Gallery Rome Italy
2013 January 1ère Biennale d’art contemporain de Palerme Art contemporain EEA EDITORE Palermo Italy

INDIVIDUAL EXHIBITIONS

2011 August “Eloge du vivant” (Praise of living) Paint “Arts et Société” Gallery Paris
2006 October “Essences de femmes” (Essences of women) Paint/pastel Bar Gallery Paris
2006 March Virtual exhibition on circus themes Pastel Site : ARTSCAD
2005 July Italy Pastel Gallery Vitorchiano
2005 Jan.-Feb. “Interrogations et ruptures” (Interrogations and ruptures) Pastel Main d’Or Theatre Paris
2004-2007 Italy Pastel Libreria dei Straffi Viterbo
2003 April “Fantasmagories” (Phantasmagoria) Pastel DAVIEL entertainment centre Paris
2001 April-May “Corps de femmes” (Women’s bodies) Pastel/Charcoal “Noues” Association Montreuil

TRAINING AND WORKSHOPS

2010-2011:
• Yves Devaux Veeska Workshop.

2008:
• Living model course – glass trade workshop –Paris with Jean Claude Athané
• Yves Devaux Veeska Workshop, creator of the foundation “Peindre en liberté” (Painting in liberty)

1997-1998:
• Living model course-N.Poussin workshops-Paris with Jean Claude Athané.

BOOKS OF CONTEMPORARY ART

2014 :
• OVER ART magazine « Premio Michelangelo» numéro de septembre/Octobre 2014 : Revue d’art contemporain.
• « Artisti Internazionali all’Artexpo di New York » : Catalogue d’art contemporain qui sortira lors de Artexpo à New York en Avril 2014
• The New Collector Book 2014 by Tchera Niyego and Basak Malone-USA

2013 :
• EFFETTO ARTE magazine « Nello segno della figurazione » numéro de septembre/Octobre 2013 : Revue d’art dirigée par le critique d’art italien Paolo Levi
• « I SEGNALATI » , catalogue international d’art contemporain de Salvatore Russo, mai 2013.

2012 :
• Le Contre-Annuaire Volume1 -11-13 Editions, Paris

BOOKS BY THE ARTIST

2006:
• “Dialogue avec la modèle” (Dialogue with the model) (Pastels and texts)

2005:
• “Interrogations et ruptures” (Interrogations and ruptures) (Pastels and texts)

---

Portfolio: