Born in 1982
Graduate of l'?cole nationale supérieure des beaux-arts de Paris
"Take them or leave them – this is what could be said of Sophie Lamm’s paintings (and drawings). There they are, in one piece, a powerful whole and it is one of their paradoxes – as paintings—that they are not so much images or representations, as they are objects. Yet they come from afar, and are anchored in decidedly heterogeneous points in art history. Sophie Lamm likes to mention the names that have a particular resonance for her: Victor Hugo, Redon, Arp, Warhol, Philip Guston, Joseph Beuys, Sigmar Polke, the disciples of the New Leipzig School; or in other words Pop Art, biomorphism, the German tradition and many more (mediumistic drawings for example, or grotesque art or cartoons). Such eclecticism is not only generous but it is also fruitful.
She approaches painting with an easy impulsivity, and effortlessly takes ownership of paint blobs and drips, adventurous cutouts and shapes, perilous brush strokes, ancestral signs, bold or muted tones. The shapelessness that interests her is what she calls the ? materiology ? of painting. But it only appears to be so. For she does not entirely rely on unpredictable effects. Her stratagem is more studied and therefore much more effective. With an impressive spontaneity, she literally addresses painting by going ? against the grain ? or ? wrong-footing it ? as she says. And by using the type of inversion of which we know some illustrious exemplars, she manages, paradoxically, to make her en creux motifs stand out. Toying adroitly with planes she very successfully disturbs their hierarchy in our visual perception. She is not averse to addressing experimental formulations head-on, displaying a definite taste for primitivism or for Art Brut. Sophie Lamm is what a painter should be today, and embraces with audacity, and great gusto the oldest medium in history."