In conversation with Barbara Christol
Galerie Séraphine, 8 mai 2025
“I see the artist’s journey as unfolding within a labyrinth, advancing through trial and error, repetition, and sometimes chance, always guided by an underlying thread.” —Barbara Christol
This month, we invite you to follow our own thread of conversation with Nîmes-based artist Barbara Christol, who recently joined the gallery.
Barbara’s distinctive artistic practice focuses on the interplay between structure and fluidity, frequently eroding the distinctions between abstraction and figuration, as well as art and craft. We thought it would be meaningful to offer a more personal introduction through this interview, where she courteously shares some childhood memories, glimpses into her creative world, and insights into her ongoing projects.
Gallery Séraphine (GS):Do you remember your first experience with painting? What was that like?
Barbara Christol (BC): I don’t have a distinct memory of a first encounter with painting—this practice feels as though it has always been a part of me, woven into the fabric of my existence. However, I vividly recall an exhibition of Henri Matisse at the Musée des Beaux-Arts de Nîmes in the late 1980s. I visited it first with my parents, then with the children’s class at the École des Beaux-Arts de Nîmes, and finally during a school outing. The way the works were displayed remains etched in my mind, and since that moment, my love for Matisse has been unwavering. One portrait of a woman captivated me entirely—I was spellbound. I carefully reproduced it in a notebook, a treasured keepsake that still accompanies me in my studio.
(GS):How has your background at the Beaux-Arts in Nîmes and the Sorbonne shaped your artistic profile?
(BC): My training at the Beaux-Arts de Nîmes, along with the time spent in local painters’ studios, has fueled my curiosity and granted me immense creative freedom. Having the space to explore and experiment with various techniques was invaluable. Meanwhile, my research at La Sorbonne exposed me to an intellectual dialogue between the realms of plastic arts and aesthetics. A continuous interplay takes shape—an ongoing movement between practice and theory, intuition and analysis, shaping my artistic approach.
(GS):The description of your artistic process mentions the idea of creation as a rhizome and the importance of déplacements in your research. These concepts echo Deleuze and Guattari’s philosophy. How have their ideas—particularly the rhizome—shaped your thinking and practice?
(BC): To begin with, I have moved frequently—physically, geographically—and this constant displacement has profoundly shaped my artistic practice. My work has had to adapt to the conditions of my life, to moments of transition, and even to the constraints of travel. I see the artist’s journey as unfolding within a labyrinth, advancing through trial and error, repetition, and sometimes chance, always guided by an underlying thread. There is no fixed hierarchy in the paths taken—the labyrinthine, or rather rhizomatic, structure holds intrinsic value. My ideas and artworks are deeply interconnected, evolving continuously, and in this way, my practice resonates with the philosophies of Deleuze and Guattari.
(GS):Let’s talk about the Filigrane series, which we are so excited to represent at the Gallery Séraphine. We are particularly drawn to the delicacy of these pieces. What sparked your inspiration for this series?
(BC): Filigrane is a series that took shape in late summer 2024 and has continued to unfold ever since. Created primarily within the intimate space of my glass-walled studio at home—a place where I draw deep inspiration and immerse myself in winter’s light—this series consists of original ink drawings on Arches paper. Some of the works are delicately enhanced with fine, hand-stitched embroidery, subtly tracing the structural lines that underpin each composition and introducing a new sensory dimension to my practice. Filigrane is a natural extension of my broader artistic explorations, whether in drawing, painting, or weaving, and I am truly delighted that this body of work, which holds such personal significance for me, has been represented by Galerie Séraphine since the first rays of the late winter sun.
(GS): Your work often plays with boundaries—between abstraction and figuration, art and craft. In your day-to-day studio practice, how do you experience or challenge these edges? Do they feel like limitations, opportunities, or something else entirely?
(BC): There are always constraints—starting with time and the undeniable laws of gravity. I have chosen to engage with them, to set my own limitations in order to better navigate around them, often as a game, sometimes as a challenge. I usually begin by selecting a technical constraint—it might relate to the medium, a specific color, or a desire to delve deeper into an element of a previous work and expand upon it. From there, I explore the boundaries of this framework, allowing myself to be guided by a driving emotion. And in the end, that very emotion unsettles the original rules of the game, blurring the lines and shifting the course of creation.
(GS):Your career seems to be expanding internationally, with a recent exhibition in New York and upcoming projects in the Hamptons. What is your relationship with the United States, and how is it influencing your art?
(BC): I have been met with a wonderful reception in the United States, and for that, I am deeply grateful. My exhibition in New York will continue until the end of the month, followed by another show in the summer, in which I am also participating. At the same time, I will be taking part in an art fair in the Hamptons this July. The upcoming projects for this year and 2026 fill me with excitement—expanding into new horizons is truly inspiring.
(GS): What is your motto or guiding principle that helps you navigate your creative journey?
(BC): « There are flowers everywhere for those who want to see them. » This quote by Henri Matisse is perhaps the one that best represents me. I see in it a poetic way of expressing dedication, determination, and optimism. It beautifully captures the idea that beauty, possibility, and inspiration are always present—we simply need to cultivate the willingness to perceive them. A perfect reflection of the artistic journey and of life itself.
(GS):As a final thought, if you could embody one piece of artwork that best represents your overall practice, what would it be—and why?
(BC): The drawings from the Filigrane series are the most personal to me and feel like the truest representation of my work, as they weave a tangible and symbolic thread connecting all my creations. Among them, Sans Titre #6 stands out as the piece that best embodies my artistic approach—small, simple geometric forms interlaced, shifting within a more intricate textile-like framework, reminiscent of a dreamcatcher. It holds a quiet rhythm, a movement that echoes the essence of my practice, where structure and fluidity meet, inviting contemplation and interpretation.
Thank you, Barbara. We are truly grateful for your willingness to share your experience as an artist and offer such a thoughtful perspective. Your words carry a poetic resonance, and we loved having this moment with you—even if it was only from a distance.
We hope our readers come away with a deeper appreciation of your work and, through your art, feel inspired to slow down, observe more closely, and dream with intention.
Barbara Christol’s Filigrane series is represented by Gallery Séraphine and is available online through our partner platform, Artsper (or by contacting us directly).