After studying Literature at the Sorbonne and Graphic Design at the EPSAA, in 1999, I started an independent curatorial and graphic career for 9 years in France and abroad. I created an artistic production structure, Lux Market, in 2004. I produce exhibitions and works of visual artists. I connect the visual arts and the private sector in order to redistribute part of the profits to the creation, the production of works and the programming of exhibitions in the form of a virtuous circle. I also work to produce visual content as an art director for magazines, galleries, luxury brands. In 2008, deeply transformed by a first pregnancy, I established a personal artistic practice on the basis of an observation of myself. I created an artistic persona, Suspensio Regina, which becomes work. On the basis of self-fiction, I create performative works, video, installations that question the form of the self-portrait.
I try above all to preserve the past, to collect proofs of the present and to implement these archives, questioning the notions of trace and lack of trace in the art. Disillusioned by reality, I invent forms of sublimation of everyday life. The domestic woman becomes an artist who creates an iconic figure that tends to become a myth.
The image of woman is at the center of my plastic production. The auto-muse disappears in the photo or the video to make room for the allegorical representation of the feminine mystery; It becomes a symbolic object by the approach of porcelain; It freezes its body in a relative eternity with the techniques of casting and plaster, it is an attempt of narration whose medium does not matter.
Obsessed by the construction of this iconic character, I make installations, video performances, I produce visual works in which reality and fiction clash. The visual icon. She evokes this in her study of the sacred feminine through various plastic supports. The origin of love is in its essential work, what does it mean to be loved and at what price? This is the question that arises and asks us the work of the unknown artist.
Émilie Moutsis has every reason to execrate the male and the tears he causes. But to make him change the coin, the artist invented a subtle strategy. Through her self-portraits and a whole game of band, apparently without touching it, she shows the male the obscenity of soul of certain goats whose carcases she must have caressed. His first pain enabled him to make his pictures. Heaven was theirs and their strange remains. But little by little a light is created. Some men would still precipitate crystals of salt to draw their grin. But Emile Moutsis twists them. She lifts her night and her body remains the place of a ceremonial cleared of miasma. “Without flowers or crowns”, it obliges itself to the rigor of a particular contemplation. And if man has left her dead, the resurrection works. Guardian against the illusion of dawn, she is obliged in her behavior to be as woman as “priestess”, as her name “war” and queen indicated so far (Suspensio Regina). It gives to its body (which remains unknowable) an obviated image: it makes of the voyeur its pegasus of the darkness. If necessary, she would waltz on him. To her the crime of love, to him the fever of horse.— By Jean-Paul Gavard-Perret Celle qui continue le combat