Invited by the museum to design a painting in situ in the double staircase that leads from the patio to the first floor, she conceived a work that will magnify this unattractive space. This project is part of a tradition of painted decor in museums that goes from Puvis de Chavanne in Lyon to Sol Lewitt in Amiens. It also revives the first commission of contemporary art that was carried out at the Museum of Fine Arts in Rennes in 1956, by Francis Pellerin at the request of the curator Marie Berhaut; this mobile sculpture is placed in a niche in the center of the same staircase and will face the work of Carole Rivalin. This mural can be compared to some of Lewitt's wall drawings by its inscription in space, combining rigor and decorative aspect. Purely abstract at first glance, this decoration unfolds like a curtain that folds in a light wind.
Taking as a starting point the line and the line, Carole Rivalin deploys a set of works with variable geometry and changing perspectives (drawings, sculptures, installations) which bring into play and into space plane, volume, surface and depth. Fold and unfold, full and empty, white and colors (like those of the rainbow) respond rather than oppose each other.
Thus, through their dialogue with light, the artist's works offer infinite projections and other cast shadows, composing with the space - be it exhibition, architectural, urban or natural - in which they are inscribed and whose "vision" they renew, inciting the spectator to a form of journey, both physical and mental. Carole Rivalin graduated from the École des Beaux-Arts de Rennes in 1997, where she was a student of François Perrodin,
Carole Rivalin has since had numerous solo and group exhibitions in France and abroad, as well as several residencies, notably at the Espace de l'Art Concret in Mouans-Sartoux, in 2004.
