“ There is an emotion in movement, simple, communicative, free, intrinsic.
My work is about exploring the possibilities of this movement, the body becomes what initiates and guides each painting to its beginning.
In this dance, the emphasis is on impulse; control and release, rhythm, repetition, balance and imbalance in a given time and on a limited surface - the canvas or paper - on the floor.This movement is self-filmed.
The trace appears, created by the dance, by the body which is here the instrument, like a brush. This trace can then remain raw.
I often decide to work on this “structure”. Then the colours arrive, shaking up the initial trace, restructuring the forms and their interactions, creating a dialogue.
In this artistic research, the intrinsic becomes extrinsic. The body visually deposits an emotion or an intention. The video, the trace and the final painting create a story, a poem. The viewer is free to interpret, to travel through this proposal, to connect with it.
This work is a suggestion, an invitation.
Far from actuality, here it is a question of timelessness, of an older, deeper, simpler, universal common bond.
Then there was this time (suspended) and this obligation to stay there, not to move.
I danced a lot, painted a lot. I ran away a lot, in my imagination, I built refuges, escapes, journeys.
While finishing the preparation of this exhibition I noticed the difference in energy between all the paintings. Some are sunny, with a hint of joy; some are blurred, others are more focused, more muted. The context must have left its mark, its hue, its ambiguity.
I didn’t think I was painting my time. Unconsciously, indirectly, I paint it, because I live it.-Saharan Africa this relation is common. ”

“Caroline Denervaud presents more than she represents: by preserving on paper the trace of her movements, she makes them the witnesses of her being there and of her existence. The line, curved or angular, ample and generous in its color, first refers to an abstraction: the flesh and the gestures seem to have withdrawn from the surface on which they are deposited. (Jean-Christophe Arcos) ”