Education
2017 ‐ 2022 DNA, DNSEP avec les félicitations du jury, Ecole Européenne Supérieure d’Art de Bretagne, site de Quimper, option Art
2016 ‐ 2017 Faculté des Arts Plastiques de Bordeaux Montaigne
2015 ‐ 2016 Ecole préparatoire d’Art, Angoulême

Shows
2025 annuel. III ‐ Galerie Lauffer, Stuttgart
2025 N'oublie jamais jamais les fleurs, exposition personnelle, Cac Passerelle, Brest
2024 Par Divergence, exposition collective, commissariat Labalade association, Pont‐l’Abbé
2024 Bloom, exposition collective au Zinzinerie festival, commissariat Lucie Férézou, Rennes 2024 Rendez‐vous à St‐Briac, salon du dessin sur invitation de Atelier Marcelin, St‐Briac‐sur‐Mer 2024 Les ami∙e∙s de mes ami∙e∙s, exposition collective, commissariat Mathis Limouzin, Le Virage, Quimper
2023 A C E, exposition collective, Le Virage, Quimper
2023 Bleu outremer, exposition personnelle, Bellevue artist‐run‐space, Douarnenez
2023 Let’s be alone together, exposition collective, commissariat Cosmic Studios, Galerie Quinconce, Montfort‐sur‐Meu
2023 Cueillette, exposition personnelle, école maternelle et primaire Paul‐Emile Victor, Ercé‐près Liffré
2023 MOTHERS, exposition collective, commissariat Elisa Rigoulet, galerie Badr El Jundi, Madrid, Espagne
2022 There will never be a beautiful suicide, exposition collective, commissariat Andy Rankin, galerie Pal project, Paris
2022 Where do we go from here, exposition collective, commissariat Sylvain Le Corre et
Elen Cornec (Atelier Marcelin), domaine de Kerguehennec
2022 Peinture fleuve, exposition collective, commissariat Margaux Janisset et Maxence Chevreau, Rennes
2022 Duoshow avec Simon Leroux, La Mostradora, Paris.
2022 peu après bien avant 11:13, exposition des diplômé∙e∙s, commissariat Martial Déflacieux, EESAB site de Quimper
2020 FLASH/CRASH, Pare‐brise sur papillon, exposition collective, EESAB site de Quimper
2018 Riz’aum, exposition personnelle, Fenêtre Fraîche, EESAB site de Quimper

Gleb: In artviewer.org I read that regularly changing styles is an important part of your practice and your way of understanding painting itself. I'm curious about your decision to work with anime imagery in this series. How did that interest develop, and what does working with anime bring to your painting practice?

Marie: Actually, in my work, I try to combine images from different registers to reinterpret themes from art history (genre scenes, religious scenes, and a lot of still life at the moment). I find material to paint from Instagram and Pinterest, which offer me very attractive, retouched images—brighter, more staged, almost like advertisements—as well as from photos I take myself and from anime. These different image registers allow me to bring together varied painting techniques, ranging from a crusty texture to more graphic gestures. The images I extract from anime give me a pretext to think about painting and composition differently, to work with color associated with black lines (something I didn't do with other images). Right now, I enjoy borrowing a vocabulary specific to manga and mixing it with other images to create a shift in the painting. I'm thinking especially of my latest series, "After the Rain," where the flower field is blurred, the brushstrokes are thick, and the gestures are visible, unlike the stars, which are more drawn. The image I chose to paint was modified by AI to make the dew on the grass more sparkling; the stars allowed me to capture this overdone brilliance by blending two opposing painting techniques on the canvas. That's a way of thinking about composition that I really like at the moment.

Gleb: Could you share any specific memories or personal connections you have with Sailor Moon and Cat's eyes?

Marie: No, not really. I turned to these manga because they are the ones that interest me the most pictorially. They are extraordinary to paint. I really like the anime Sailor Moon, but I only watched it after I started painting it!

Gleb: Flowers seem to play an important role in your work. I wonder if they might also reflect your personal philosophy or way of looking at the world. If so, could you tell us more about that?

Marie: I couldn't tell you. Maybe yes. In my family, flowers hold an important place, and I've always been surrounded by flowers. But above all, flowers seem to me an inexhaustible subject in painting... at any rate, for now, I have an inexhaustible joy in painting them!