Régine Sarallier: Art, A Quest for Life

At 87, the painter reflects on six decades of creative freedom

Born in 1939, Régine Sarallier still commands the space of her Parisian studio in the 15th arrondissement, a sanctuary where she has flourished for the past 25 years. This atelier now serves as the serene final chapter of a prolific career, yet her artistic trajectory is far from linear. Sarallier has navigated a series of vibrant, diverse lives, moving seamlessly between the intellectual rigor of Grenoble, the creative magnetism of Paris, and the exhilarating opportunities of New York. Whether she was pioneering arts education or capturing the restless energy of the Big Apple, she consistently pursued her own definition of freedom. Each of these cities shaped her vision, yet she never allowed herself to be defined by a single place. Now, as she reflects on this vast collection of experiences, the canvas remains her most honest witness.

Régine Sarallier: Defining Her Own Freedom

Everything shifted at eleven, when Régine lost her father. Faced with a fragile family situation, she quickly set aside her own creative dreams to master sténotypie. A rapid, coded shorthand writing. This skill became her lifeline, allowing her to support her mother while her brothers were still young.

However, the United States in the 1950s ignited a different fire within her. A year spent at university across the Atlantic revealed a freedom and ease of connection that simply did not exist in France at the time. She earned her place in fine arts, and that validation propelled her forward. Back in Europe, she played a bold game, simultaneously attending the Beaux-Arts and the École du Louvre, refusing to let any institution dictate her path.

Life eventually pulled her toward Grenoble for seventeen years. There, Régine Sarallier co-founded the city’s first university art program, breathing life into a derelict warehouse while raising two adopted children. She balanced this intense administrative responsibility with her own studio practice, constantly organizing her life to protect her time for painting. Now, after decades of traveling between two continents, she has completed a meticulous inventory of sixty years of work. Sorting, dating, and signing what remains.

The Art of Survival in a Changing Market

Régine Sarallier observes the current art world with a sharp, experienced eye. For her, the profession has shifted, and not for the better. She fondly recalls the era when workshop masters at the Beaux-Arts would firmly correct students, saying, “Hop, stop, that’s enough.” Today, she notes that this critical dialogue has vanished. She no longer seeks out gallery relationships; most owners simply lack the time and the leisure to engage in meaningful conversation, their budgets drained by exorbitant rent.

The current system weighs heavily on the artist. Nowadays, painters must cover every cost themselves. From transport and installation to the raw materials. Sarallier views these conditions as “aberrant.” While she still connects with collectors, particularly young enthusiasts drawn to her work, the professional landscape feels entirely different. The era of open-minded, prejudice-free exchanges is over. Despite these hurdles, she maintains her focus. She continues to paint, driven by a deep love for the craft, even as she acknowledges that today’s reality stands worlds apart from the one she knew when she first began.

The Inventory of Régine Sarallier’s Life: Between Legacy and Uncertainty

After navigating three different studios throughout her career, Régine Sarallier finally settled here, in the 15th arrondissement of Paris. She has occupied this space for at least 25 years; nevertheless, she admits today that she has lost track of what she actually owns. Accordingly, she undertook a complete inventory of sixty years of work with the help of a young assistant. In the same fashion, they sorted, discarded, dated, and signed everything. Basically, tucked away in the back of her storage cupboards, she rediscovered small formats she had accumulated over time, although she often did not even remember what was inside. All things considered, at 87, she felt it was finally time to clear the air.

The question of what will happen to these works weighs on her, and she speaks about it without sugarcoating. She looks at this mountain of canvases with total clarity: “I don’t even know what I have in those cupboards.” Régine holds no illusions about the future of this collection. She does not believe her children could inherit, or even want, such a vast quantity of work. It is a predicament that leaves her both awkward and overwhelmed. She spent decades accumulating these pieces, and now she finds herself with works that have never even seen a gallery wall, unsure of their eventual home.

“To reach a certain something, you must be nothing.” This phrase sums up her stance on painting. Régine Sarallier has always followed her impulses, moving without overthinking. She has never chased after galleries. Today, she remains here, in her studio, focused on her craft. She simply keeps going, day after day.

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