Born in 1972

She lives and works in Saint Nazaire

She has been exhibiting at the Oniris gallery since 2015.


2021 : Travaux récents, first solo show at Galerie Oniris, Rennes
+ Exposition, Continuum, Bordeaux

2019 : Le dessin du salon, MEAN, St Nazaire
+ Some of us, 200 artistes émergentes en France KUNSTWERK CARLSHÜTTE, Büdelsdorf, Allemagne

2017 : Art Karlsruhe, Galerie Oniris, Allemagne

2016 : Art Paris, Grand Palais, Galerie Oniris, Paris

2015 : Invitation #1, exposition collective, Galerie Oniris, Rennes 2013

2014: Jenn, Musée des Beaux Arts de Rennes

2012: MBDT curators, Nantes

2009: Tryptique, Chapel Jeanne d'Arc, Thouars

2008: Cat's Eye, French Cultural Centre, Kiel

2006: The Divine Comedy, The Kiosk, Mayenne

2005: Via, La vitrine, Paris


Carole Rivalin's work revolves around line and line on notions of space, here these notions do not confront each other but are organized as a dialogue. Between plane and volume, between surface and depth, between white and colours, between emptiness and fullness?

"I'm very fond of drawing. ...] What touches me and interests me in this practice is the presence of a rhythm, a marking of time that appears very strongly in the repetition and monotony of certain gestures. »
Just as colour is intrinsic to the creative process, there is, according to Carole Rivalin, a complementarity between drawing and architecture that makes them inseparable. Sculpture then becomes a kind of drawing in space and the void is never really empty. Emptiness is indeed seen as silence and not as a negative notion. It amplifies image, form and colour.


By confronting the real world with the artistic world, the object becomes dematerialized. Although the artistic object is about what it refers to, it is redefined in its relationship to the spectators and the place in which it evolves. While the work takes the form of a discourse and invites itself physically and mentally to the spectator, the spectator must in turn stop and take the time to look at it in order to constitute this "particular moment".


The spectator thus has a privileged place. His vision, renewed each time, has a constructive value and brings out the form and meaning of the work.

The "Over the rainbow" series, of the same name as its catalogue published in 2012, is composed of lines of colour in the background on which a mask is superimposed. The cover is a cut-out paper, reminiscent of silkscreen printing, a technique he fell in love with at first sight.

As hypnotic as they are vibrant, his works tend towards an architectural motif of colour. They can be placed on paper as well as on a monumental fresco. As "wanting to escape the 'hopeless disorder' of this world for another full of colours".


During her apprenticeship at the Ecole des Beaux-Arts in Rennes, Carole Rivalin cultivated a special bond with François Perrodin, who transmitted to her his key words: "simplify" and "go to the essential", her taste for non-figuration and geometric forms, as well as questions of space: leaf space, mental space, architectural space... The notions of superimposition and finally mass production came to her at the same time.

Works selection
Virtual Exhibition
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