Caroline Coppey

Whether her works are series, digital films, installations or paintings, whether they are exhibited in a gallery or placed in a context (garden, architecture, stage), painting is the common thread of Caroline Coppey’s work, according to a claimed filiation with artists like Monet for his approach to color and his global conception of art practice, Viallat and Support-Surface for their deconstruction of the painting, Penone and Long for their questioning of the relationship between art and nature, Opalka for highlighting the concept in the work. n

Since 1998, she has set up a particular mode of creation, the Uniqueness of color, which consists in isolating each color to then decline it in an organic process, reusing this unique shade in an infinite cascade of actions: Squares, Drops, Samples, Floors, Rags, Chords, Palettes, Colors, Fabrics, Paintings, Crumpled, Casts, Broken, digital works... all from the same matrix source.

Every year, she creates at least one personal exhibition, by designing a specific work for the place, for example, during the last five years: Maison Impressionniste Claude Monet, Argenteuil / Jardin Botanique, Saint-Jean-du-Doigt /La Galeru, Fontenay-sous-Bois / L'atelier -Jardins de l'Abbaye, Argenteuil (catalogue) / La Pharmacie, Cultural Space of the Hospital, Tonnerre (catalogue)

His works are in private collections in Europe, the USA, Japan, Israel, in the public collections of the Barrois Museum, the contemporary art collection of Hénin-Beaumont, the city of Stains, the Spring Arts of Monte-Carlo, the Monaco Stamp Museum, from the Artothèque du Lot, from the Centre Hospitalier du Tonnerrois and in the corporate collections of Tilder, Vinci Immobilier and Workman Turnbull.

Attached to the dialogue with the other artistic disciplines, and in particular the music, Caroline Coppey realized the scenography of the festivals Les Musicales, October in Normandy, Chamber Music in Giverny and Days of Pont-Ar-Gler. In 2005, she conceived a show with the cellist Marc Coppey which was given at the Théâtre du Châtelet (Paris) and revived in Belgrade and Le Havre in 2007. She participated in 2008 in the concert for the 100th anniversary of Elliott Carter given by the ensemble Contrechamps in Geneva with the video projection of the digital work Mosaic. In 2017, the work by Michèle Reverdy, Un violon pour Caroline, composed from a suite of nine Palettes, is created by Emmanuel Coppey in front of Le Grand Voile at the Philharmonie des Couleurs. In 2019, she created eight digital works for the eight musical creations of the show 7 Femmes et +, imagined by mandolinist Florentino Calvo.

In 2012 was founded AO2C, the Association of Friends of the Work of Caroline Coppey, whose objective is to support her work and contribute to its influence.

In 2013 is published by L'Harmattan the book taken from his doctorate in History, Theory and Practice of the Arts, Claude Monet: At the school of the eye. In 2014, the artist’s book Bleu jour was published, with poems by Benoît Gréan, reissued as a limited edition in 2022.

Since 2021, Caroline Coppey has established a partnership with the NGO Jiboiana and donates 5% of her sales to this association which contributes to defending the rights of indigenous peoples in the Amazon and to reforestation.

In 2023, Caroline Coppey is invited to present her works at the Maison Impressionniste Claude Monet in Argenteuil and its garden, then in Geneva for her first solo exhibition at the ART NOW projects gallery.

Caroline Coppey lives in Paris and works in Choisy-le-Roi. She is represented by the gallery