The turning point in Sandrine Pelletier’s work, which had until then been primarily concerned with embroidery, took place in 2009-2010. Putting to one side her needle and pencil, she equipped herself with a lighter and turned her hand to ceramics: burnt ceramics, glass and wood.   

Sandrine Pelletier (b. 1976 in Lausanne, Switzerland) is a bona fide iconoclast who debases preconceived technical and aesthetic notions; she pushes each of her new artistic media to breaking point. From her experience with the latter media arose what was to become a salient characteristic of her work: accidents. Burnt wood, molten, broken or soon-to-be-broken glass and blackened ceramics have all given form to her artistic expression whose inflections incorporate aspects of figurative, abstract and conceptual art.

Her artist’s studio in Cairo, where she resided in 2012 shortly after the Arab Spring that shook the foundations of the country, has undoubtedly had a long-lasting impact on her way of working and her references. New muses hailing from the alternative youth of Cairo came to the fore. This encounter with the hitherto unexpected points of reference of an Arab country was catalytic in her production of numerous charcoal drawings all of which have been compiled in a publication that was produced and bound in Egypt. This work indeed encapsulates her entire artistic grammar. It contains references to rituals, legends and to exoticism as well as her new, notable preoccupation with transformation, ephemerality and accidents. Her wooden, urban constructions are a reflection of all of these new foci. The fragility and the sheen of time coexist in these new burnt architectural structures in her artworks such as Nafas (2012), anamorphic images that draw their inspiration directly from Islamic patterns, Oscar (2014) and Only the Ocean is Pacific (2015).
Sandrine Pelletier is not a sponge artist who simply soaks up her surroundings; rather she scrutinizes them closely and transforms these surroundings in her artworks. In 2014 when she was invited to take part in Vent des forêts in the Meuse region of France, she immediately set about building her own glass oven made from mud-brick and terracotta fireclay in the middle of a forest and then went on to throw projectiles of transparent matter, whilst still in the process of fusion, onto burnt wood constructions. The threads of glass - once solidified - that were left in the wake of the projectiles’ trajectories formed an amber-coloured spider’s web of monumental proportions.
The spatial dimensions of her work have as such developed considerably over time. She has the ability of creating works in a forest or in a desert, and her sketches have freed themselves from the page in order to occupy other surfaces such as walls, some of which are on a large scale such as her creation during the exhibition of the same name, Only the Ocean is Pacific, at the Musée du Locle in the winter of 2015. 


Sandrine Pelletier: Plasticité du post-accidentel, January 2017, by Florian Gaité (french)
Lausanne scelle la première pierre de son grand musée, October 2016, TG (french)
Extrême, by Adèle Jancovici, August 2016 (english)
CairoScene, November 2015 by Eihab Boraie (english)
SwissInfo, November 2015 (arabic)
A propos de Black Eden - par Erwan Frotin, June 2015 (french)
Kunstbulletin, May 2015 by Katharina Holderegger (german)
Helvete: A journal of Black Metal Theory, Issue 2, Winter 2015 (english)

Le Courrier, March 2015 by Samuel Schellenberg (french)
Revue Pharts n°115, March 2015 (french)
Scene Magazine, May 2015 (french)
Bscnews, by Julia Hountou, 2015 (french)

Walliser Bote, April 2014 (german)
Vent des Forêts 2014 - Diorama

GrandBag, 2012 - text by Isabelle Giovacchini (french)
VEINE Magazine, 2011 (french)
Magazine, by Céline Maillet, 2008 (french)
Les Inrockuptibles, by Sylvie Lambert, 2003 (french)

Vertigo Radio interview with Christine Gonzales - February 2015 - Listen here

To know more about Procession Towards The Unknown - Cairo Scene, 2017 - listen here