Chris Paquentin
16 JUNE 2025
An artist from Pertuis in the Provence-Alpes-Côte d’Azur region, constantly moving between cities in pursuit of continuous change. Chris studies questions of identity through Work, Love, and Family
An artist from Pertuis in the Provence-Alpes-Côte d’Azur region, constantly moving between cities in pursuit of continuous change. Chris studies questions of identity through Work, Love, and Family
My work explores the question of identity — how do we become who we are? I look at this through the prisms of Work (introspective, artistic, day jobs), Love (romance, family, and friendship), and Family (the one we’re born into and the one we choose).
In my project Lianes, I imagine people traveling across dimensions to find refuge and happiness, once they begin to understand themselves. I often move between utopia and dystopia, using them to reflect on trauma and determinism — not to define them, but to gently untangle and question them.
In my project Lianes, I imagine people traveling across dimensions to find refuge and happiness, once they begin to understand themselves. I often move between utopia and dystopia, using them to reflect on trauma and determinism — not to define them, but to gently untangle and question them.
What themes and ideas can be seen in your work?
I was born in the South of France, in Pertuis, but I’ve never stayed in one place for too long. I’ve moved between cities in mainland France and the overseas territories. I like this constant change — it keeps me alive, like a shark that has to keep moving. I settle somewhere, then eventually start again elsewhere.
I studied Art History and Archaeology in Dijon, then moved to Clermont six years ago to apply to the art school. Something about the city’s energy drew me in. Now that my studies are behind me, I work as a multimedia artist, based in Clermont-Ferrand, at least for now.
I studied Art History and Archaeology in Dijon, then moved to Clermont six years ago to apply to the art school. Something about the city’s energy drew me in. Now that my studies are behind me, I work as a multimedia artist, based in Clermont-Ferrand, at least for now.
Tell us about yourself
I see success and importance as two different things. Success often comes from connections and visibility, but importance is something else — it’s about creating with the blood. If a work doesn’t stir emotions or leave you changed, then for me, it’s just not important.
What is your favourite part of the creative process?
What makes art successful or important?
I’m currently inspired by Chloe Burt’s raw, visceral work around the body. It reminds me of Frida Kahlo’s intense pieces, which still deeply move me. I also love the contemporary voices of Assylem and Stella Winter, and the vibrant, fauvist energy in Salman Toor’s paintings — all of them resonate with how I see and feel the world.
What artists inspire you?
The creative process feels deeply intimate, like an inward journey through my own body — mind, organs, flesh — that I translate into words or colors. It’s a solitary space that’s hard to share, so I started a YouTube vlog called Bla-Blart, where I talk about my work and try to open up that space a little.
I work with writing, painting, drawing, performance, video or sound, depending on what I want to express. Installations are very important to me. They allow me to combine different media into a cohesive whole. Sound and voice, in particular, help give my texts a physical presence — almost like a body the viewer can feel.
What is your medium and favourite materials?
France doesn’t truly supports young artists — budgets are cut, and the more we go Right, the more we are doomed. Art is essential, but artists are undervalued, expected to survive on passion alone. Being an artist is a job. Know your rights (start with SNAPCGT), support local collective initiatives, and never romanticize precarity!
Does France offer support for young artists, and what advice would you give them?
A pivotal moment was meeting Alizé Gauthier — a friend and art therapist. She made me realize that creating wasn’t just a hobby but a professional need. Her support gave me confidence and boldness. In moments of doubt, she shows up, says something magical — and I’m back, full of ideas.
Were there any turning points in your life?
Each work feels significant in its own moment — what I created at 12 meant everything back then. More recently, it was my short film Genesis, and before that, the storyboard drawings that shaped it. Over the past six years, the Lianes project has also been a major part of my practice and identity.
Right now, though, it’s my new series of paintings that stands out. I’m digging deep into memories and emotions, exposing myself in a way I’ve never done before. It feels like the start of a new era in how I represent myself — intimate, raw, and healing. The process feels like an act of care for my mental health.
Right now, though, it’s my new series of paintings that stands out. I’m digging deep into memories and emotions, exposing myself in a way I’ve never done before. It feels like the start of a new era in how I represent myself — intimate, raw, and healing. The process feels like an act of care for my mental health.
Which of your works are most important to you?
— If a work doesn’t stir emotions or leave you changed, then for me, it’s just not important.
If your art were a music track, what would it be?
The Great Impersonator by Halsey.
What are your favorite places in Clermont?
My favorite spot is Chez Raymonde — self-managed spaces like these offer rare freedom and real human connection in today’s tough political climate. I also love the Fournil Saint-Esprit bakery near Beaux-Arts for their gressins — my go-to snack when I wander through my favorite green spaces in Clermont.
What do you think about the art community in Clermont?
Clermont-Ferrand has a great art scene — full of collectives, associations, and spaces that support emerging artists and aim to make things more inclusive. From visual arts to music, there’s real energy here, with places like Le Lieu-Dit, Somme Toute, Chez Raymonde and many more creating space for creativity to grow.
Art should be free and accessible to all — no matter the background, ability, location. But accessibility also means accepting that not everyone will understand everything, and that’s okay. Sometimes confusion, frustration, or even discomfort are valid responses. What matters is that the piece moves you, sparks something, leaves a trace.
What do you think about art? Should it be accessible to everyone?
