PAULINE-ROSE DUMAS
Mia Macfarlane
The Artist’s Studio as Sculptural Manifesto – Pauline-Rose Dumas
Pauline-Rose Dumas the French artist has never treated the studio as a neutral space. Instead, she transforms it into a stage where sculpture, process, and philosophy collide. Her new solo show, Studio Everywhere, opens at Galerie Anne-Laure Buffard (6 and 13 rue Chapon, Paris 3e) from October 11 to November 22, 2025, with a press preview on October 11 from 4–6 pm. By situating her practice inside this exhibition, Dumas reveals that the artist’s studio is not simply a workplace but also a manifesto written in plaster, clay, and metal.
The Studio as Theater
To begin, Dumas places the act of making at the heart of her practice. Tools become props, gestures turn into choreography, and unfinished objects are left deliberately raw. As a result, the studio itself evolves into a sculptural environment. Visitors step into a space where production and exhibition blur, challenging the usual distance between artist and audience.
Material as Language
Moreover, Dumas approaches material with both reverence and subversion. Bronze, often associated with permanence, appears fractured and precarious. Clay, typically fragile, stands upright as if defying gravity. Consequently, each medium speaks a different dialect, revealing contradictions in the way we value objects and memory.
A Sculptural Manifesto
Her approach ultimately insists that art is never separate from life. By exposing the traces of labor—fingerprints, seams, or discarded molds—Dumas highlights the beauty of process itself. Therefore, her studio becomes a political space: one where transparency replaces polish, and experimentation resists conformity.
Beyond the White Cube
Importantly, this vision reaches beyond her studio walls. Recent exhibitions show her installations spilling out like living organisms, adapting to the architecture around them. Furthermore, Dumas often invites writers, musicians, and other artists into her space, underlining her belief that art thrives in dialogue rather than isolation.
Pauline-Rose Dumas in Motion
At its core, Pauline-Rose Dumas’s work redefines what it means to be an artist today. She does not present finished objects as trophies. Instead, she stages process as a permanent act of resistance. In doing so, she turns the studio into a sculptural manifesto—an ongoing statement that insists art must remain restless, alive, and urgent.
Feature Photo Credit: Portrait Pauline-Rose Dumas © Mikael Fakhri
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One day when I was barely two my mom let me push her out of her bedroom. She was curious so she ran outside the house so she could watch me through the window. I climbed up on a chair by her vanity and started putting on her makeup. I loved playing dress up as a kid. Putting on my mom's sequin tube tops and high heeled shoes and then putting on a dance show in the lobby or the restaurant of the hotel/residence we lived in. It was the best childhood ever. Dress-up, dancing, playing with barbies, and drawing were my favorite things to do. I have not changed one bit today. If I am creating I am happy.
Now I am in Paris for the second time in my life and I am having a ball playing with my partner in crime Julien Crouigneau. We founded IRK Magazine together in 2015 and we are proud to collaborate with some amazing artists, and influencers.
We are also a photography duo under the pseudonym French Cowboy. We love to tell stories and create poetic images that are impactful.
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