Sarah Trouche A deep look into an artist who lives through the passion of expressing the truths of a world she experiences. Her art, a personal encounter of the reflections she explores. Unveiling the message which is to be further transported. A mood transcribed through the beaming use of color. A master in sculpting, painting, and performance art, Sarah Trouche brings forth levels of life through exploration and deliverance of a brilliant, powerful medium.

Your bio mentions you graduated from Paris. After witnessing your portfolio I am curious to know the degree of influence Andre Breton and his Surrealist circle had on your work.

Paradoxically, even if some pictures that I produce seem close to the surrealism, all my ‘actions’ register resolutely in the real. They are the fruit of a quasi journalistic inquiry of circles, populations which meet and learn in connaitre, and that tell me their stories and their concerns.

Reflecting again on the past, are there women throughout history who have influenced your artistry today?

Martha Rosler, Marina Abramovic, Gina Pane, and Carolee Schneemann.

What is more important, or rather, what do you feel comes more natural: ‘The image’ or ‘The Idea?’

There is not always a distance between the concept of a picture and the idea. As a performeuse, I often intervene in the public space; sometimes facing an informed public, sometimes not. My performances (the created pictures) are the fruit of a reflection linked to a particular situation (political, sociological etc). The idea of the picture as a slogan also interests me in that it also transports a message.

Some of your images speak to the viewer on a certain symbolic/archetypal level- is this by intention? For instance: in some pictures, the woman is hidden, suffocated or in a submissive stance- in others she is climbing, persevering- what are you trying to communicate in these images to your audience?

It is true that my performances very often lead to actions difficult to accomplish or the body is put to the test. My performances can resound as an alarm or a rocket of distress. They testify a feeling of faintness, an anomaly; social or politics which questions me and brings me to formulate whether the performance is transcribed at instant or if performed.

Sarah TroucheI notice body painting is an important element in your work. What drives your need to ‘color’ your models?

The color which I use in my performances is very important since it allows to create ‘ Stimmung ‘ atmosphere which allows reinforcement my purpose. Before beginning making performances, I made painting principally. It probably influenced my job on color and composition in the space.

How do you communicate with your models? (Specific instructions vs. intuition)

In most cases, I perform alone. When I don’t and have the opportunity to invite someone into the experience, I see it as a shared egal short lived moment.

Given the numerous videos & photographs, it begs the question: which medium do you prefer the most, motion or still images? Why?

Every medium to me is interesting. I also work with sculpture, drawing, and installations regularly.

Given the intimacy of your work it’s hard to imagine you might have any fears, however, we’re all human: what intimidates you as an artist?

Everything. That is why I implicate myself into a problematic state. As an artist I have to defend ideas and show strength in them.

What are your plans for the future?

I am currently in Cambodia where I will be working on the conflict between Thailand and Cambodia.

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