As a visual artist, my practice is rooted in the gathering of materials, narratives, and techniques from a variety of environments and contexts I encounter. Investigation, experimentation, and continuous learning are central to my creative process. These phases of exploration—of knowledge and craft—nourish and inform the evolution of my work.

I draw on diverse fields such as botany, agriculture, craft traditions, and geography, weaving together multiple forms of expertise and intuitive practices to reinterpret the materials, tools, and uses I come across. This hybrid and transdisciplinary approach allows me to shift between the roles of maker, researcher, and observer.

My works take on multiple formats, often presented as site-specific installations. I engage in printmaking, photographic processes, image-making, and the creation of objects, and occasionally develop performative gestures.

Through my practice, I seek to articulate relationships between ecology, landscape, and narrative, revealing them as spaces of potential, resilience, and imaginative renewal. I consider these intersections as fertile grounds for rethinking our ways of seeing, making, and inhabiting the world.

Looking through the Reeds
2023-2024. Artist-in-Residence, Camargue Regional Nature Park

During an artist residency within the Parc Naturel Régional, I attempted to trace my gaze through the dense reed beds. During my stays in the Camargue, I was hosted at the Salin de Badon lodge, nestled in the heart of the National Reserve. There, I encountered a number of devoted ornithologists who, each evening, shared vivid stories of their sightings, complete with photographs.

In turn, I tried to keep watch—waiting anxiously for an apparition of my own, though mostly in vain. Instead, I found myself immersed in the hypnotic choreography of reeds swaying in the wind.

From the reed beds, I learned that they shelter a remarkable diversity of species and play a vital role in water purification. Back in the studio, I took up my tools and began crafting reed paper—a gesture that allowed me, in turn, to conceal and reveal the creatures that dwell within or orbit around this landscape.

This work also extended into a collaborative project with students from Jules Vallès Elementary School in Arles. Through a series of workshops and field outings, the children encountered the flora, reeds, and birds of the Camargue. Together, we explored symbols, stamp-making, and printmaking, allowing these young participants to develop their own forms of attention and expression in dialogue with the territory.

Vitis Vinifera
2020-2021.winemaking.Printmaking.

At the Château des Vergers estate in Beaujolais, I undertook a collaborative project with winemaker Cosima Bassouls. Across more than a year of observation and exchange, I followed her through the seasonal cycles of the vineyard—from pruning and bud thinning to harvesting—then into the cellar for the many stages of vinification and bottling.

It was among the vines and in the winery that I gathered the materials used to create an exhibition that pays tribute to the labor, gestures, and knowledge shared and passed on by Cosima.

From vineyard to bottle, and finally to the creation of an exhibition on the estate itself, this project tells the story of a collaboration and of interwoven perspectives—between agricultural practice and artistic practice.

Wine lees scraping on acetate sheet.

Épinette grape-harvesting shears, Wine press, traditional ouillette used to top up barrels during aging.
Embossed on recycled paper, enhanced with vine leaves or wine lees

Series of analog photographs documenting the grape harvest and the early stages of winemaking in the cellar

Photographs from the vineyard and creative sessions at Château des Vergers.

Atelier at 721 meters
2017.video.objects.installation

To create, to produce, to build, to shape, to make — Atelier at 721 Meters is the result of a deliberate desire: the desire to do, and above all, to do everything myself.

This approach naturally emerged at the end of my initial training as a designer. I knew materials, design processes, production phases, and industrial workflows — but I had never truly shaped an object from start to finish with my own hands. There was a kind of abstraction in ordering materials, in imagining objects and outsourcing their production and assembly. This distance from the things I designed no longer satisfied me.

Faced with a set of dilemmas, I committed to making — physically, directly. Armed with a few rudimentary tools, I began seeking out raw materials and shaping them by hand. Though the resulting objects are not necessarily functional in a domestic context, their forms are familiar, almost archetypal. I focused on making every step of the process visible and traceable.

This project marked the beginning of a new phase in my creative practice, driven by questions that still inform my work today.

The project is documented through several elements that preserve its traces:
– An installation that brings together raw materials and the crafted objects
– A 13-minute video narrating the evolution of the making process
– A wall display featuring drawings, analog photographs, collages, and natural curiosities that reflect a personal reading of the explored landscape
– A self-published booklet compiling visual documentation of the project

You can also read the accompanying text written by Sarah Salem, titled:
“The Mountain as a Workshop.” (french)

Installation views at Ensad. 2017

Images from the project in vallée du Bès.

video “Atelier at 721 meters” 2017, 13 minutes.

Black Herbarium
2019.installation.performance.estampes.

The Black Herbarium presents a series of prints created by inking and pressing various plants gathered along roadsides and field edges. The resulting graphic imprint reveals subtle details and textures, often aestheticizing these overlooked and disregarded plants.

The installation also exposes the process behind the image — how the trace is made. After inking and pressing, the plants appear oiled, darkened, almost fossilized. They become inert, their material presence less alive than the delicate impressions left on paper. These blackened, spent plants are scattered on the ground, lying beside their own images.

The work invites reflection on the aestheticization of nature:
How do we choose what to preserve and protect?
What is the role of beauty in shaping our attention and care?
And more broadly, it questions the conditions of producing an artwork or an image: Must we beautify in order to protect? Must we destroy in order to preserve?

exhibition views, at Artagon live, Cité des arts de Montmartre, villa Radet. pictures ©Marie Genin
Thanks to Daniel Rovaletto, Laurent Charbonnier & Beaux-Arts de Digne for the printmaking press.

The garden of Serres
2022.installation.outdoor.botanical

During my residency with Les Transhumances Artistiques, I chose to invest in a fallow plot of land on the hills overlooking the village of Serres, in the Hautes-Alpes region of France.

After identifying the plant species already growing there — with the help of local residents — we organized a collective planting session in collaboration with the Serres lez’Arts association.

Aromatic and medicinal plants now grow alongside endemic species, forming a small garden nestled just below the Notre-Dame du Bonsecours Chapel. The layout subtly references the codes of a “jardin de simples” — a traditional herb garden — blending local knowledge, collective care, and symbolic landscape gestures.

Fragments of a Mountain

2022.installation.outdoor.mapping.

At Puy-Saint-André, during the second part of my residency with Les Transhumances Artistiques, I chose to work with the map as a way to share glimpses into the story of this mountain.

Installed along a communal path, the map unfolds like a panorama — from the Durance riverbed to the ridgelines of Serre-Chevalier — illustrating the 1,000 meters of elevation that separate the lower and upper parts of the commune.

How can we connect the history of a village with the landscape through which it has unfolded over time? I turned to the map to tell a collection of local stories. It traces the vegetation zones, the footpaths, and the waterways that shape not only the geography, but also the rhythms of life across generations.

Place names resonate with anecdotes, customs, and practices — both ancestral and contemporary.

Documentary video directed by Jérémie Van Quynh and Manon Gary (featuring cross-interviews with the on site project by Violaine Barrois & Niccolò Moscatelli).

Contact

Anne Perier

a.anneperier@protonmail.com

+33 6 16 82 85 94

@a.nneperier

Bio + cv

Born in 1993, I currently live and work in Nans-les-Pins, near the Sainte-Baume mountain in Provence and not very far from Marseille.

I have developed a practice of exploration and immersion within an environment, progressing through trial and error. I seek to understand a landscape, a field of knowledge, a practice, a craft. I capture images and gather local elements. I enjoy combining tools from various creative domains, I most often attempt to document my process as it unfolds.

I like to think that I am drawing a kind of map, composed of experiences and detours depending on each project undertaken. I frequently compare my background and experiences to a mountain hike, with its terrain, encounters, and various rhythms to compose with.

I studied applied arts at École Boulle, then at ENSAD (École des Arts Décoratifs de Paris), with a focus on Object Design, interspersed with an Erasmus year at Fine Art School of Lisbon, where I began etching and printmaking. At the end of my studies, I moved to the Alpes-de-Haute-Provence region of France.

I have benefited from creation and mediation residencies supported by DRAC PACA (la classe l’œuvre, rouvrir le monde, Résidence-Pro- agricultural high school). I was welcomed in residency at Camargue Regional Nature Park and created outdoor works for the "Transhumances Artistiques" in the Hautes-Alpes. I have had the opportunity to showcase my work at the Art Center of Briançon, at the Artagon III and Live exhibitions, at Museum of Camargue, and other exhibition venues. I have also worked for the CAIRN Art Center and the Musée Gassendi in Digne-les-Bains. I spent some time in the vineyards, then worked as a bookseller, and participated in a few film shoots for set design.

CV

Vocational Training

2024 · Sharewood Marseille - UP1 Menuisier fabricant

2024 · Dos Mares - Ancrer sa démarche artistique

2023 · Amac/Atelier Millefeuilles Nantes - Encadrer ses œuvres

Studies

2012 - 2017 · École Nationale supérieure des Arts Décoratifs de Paris (ENSAD)

2015 - 2016 · Fine Arts School, Lisbon, Portugal (Erasmus exchange)

2011 - 2012 · Atelier de Sèvres (Preparatory course)

2008 - 2011 · École Boulle, Baccalauréat in Applied Arts

Residencies

2024 · “Rouvrir le monde” DRAC PACA, Châteauvert Art center with the association of nurseries “Francis Barrau” in Provence Verte.

2023-2024 · Résidency at Camargue Regional Nature Park

2022 · Résidency / Outdoor art work installation in Serres & Puy-Saint-André, Hautes-Alpes region of France.

2021 · “Rouvrir le monde” DRAC PACA, Musée Gassendi in Digne-les-Bains and summer holiday club in Le Brusquet, Alpes-de-haute-Provence.

2020-2021 · Research and creation residency at Château des Vergers, wine estate in Lantigné, Beaujolais.

2018 · Résidence de création au domaine des Deux-Îles, Montbazon, Indre et Loire.

2015 · Workshop with designer Pierre Favresse at Centre International for Glass Art – Meisenthal (France)

Personal Exhibitions

2025 · Looking through the Reeds + new pieces at Library of Arles Exhibition Opening friday 5 september 6pm.
2024 · Looking through the Reeds, Showcase at Museum of Camargue
2021 · Vitis Vinifera, Chapel of Château des Vergers, Lantigné, Beaujolais.

collective exhibitions

2015 2025

· Festival de la Camargue et du Delta du Rhône, Port-Saint-Louis du Rhône.

· Language of flowers, Carré des arts gallery in Cotignac.

· Transhumances Artistiques, Contemporary art center, Briançon.

· Habiter discrètement - éloge de l’observation, IDBL Art School, Digne-les-Bains.

· Artagon live, cité internationale des arts, Villa Radet, Montmartre Paris.

· 100% makerz, La Villette Makerz, Paris.

· Le Dôme festival, Domaine des Deux-Îles, Montbazon.

· L’Ensad à Matignon, Journées du Patrimoine, Paris.

· Artagon III, Les Petites Serres, Paris.

· Meisenthal x Ensad, D’Days, Habitat 1964, Saint-Ouen.

Workshops / Transmission

2022–2025 · Collective Grafikas — Etching and printing workshops with various participants, Reillanne (Luberon).

2023 · Involved in the “Remarkable Project” under the Pro-Villa Medici–Région Sud Residency program, Carmejane Vocational Agricultural School.

2022 · EAC Workshops in primary schools of Alpes-de-Haute-Provence and teacher training sessions.

2020 · “La Classe, l’Œuvre” program — Gassendi Middle School & Maison Alexandra David-Neel, Digne-les-Bains.

2019 · “La Classe, l’Œuvre” program — Borélly Middle School & Musée Gassendi, Digne-les-Bains.

Other Experiences

2023 · Visual Arts Teacher, Collège de Seyne-les-Alpes.

2020–2023 · Bookseller, La Ruelle Independent Bookstore, Digne-les-Bains.

2018–2021

· Research and archival assistance for the CAIRN Art Center retrospective exhibition and publication Flash Back, a Brief History of the Cairn.

· Video creations for the Maison Alexandra David-Neel and Musée Gassendi.

· Museum mediator, City Museums of Digne-les-Bains.

· Civic Service at CAIRN Art Center (assistant, project coordination with artists, exhibition installation, and mediation).

Before 2017

· “Le Tarmac”, Palais de Tokyo, Paris — Interior design project, collective conception with ENSAD students.

· Research thesis (ENSAD, 4th year): Futures and Fictions.

· Creation of ephemeral tableware for Chef Guy Krenzer, Maison Lenôtre.

· Assistant to Emma Pucci, Production Designer, on the short film 3 Buttons directed by Agnès Varda.

· Internship with Designer Jorge Penadés, Madrid.

· Assistant Set Designer, World Brain, a project by Stéphane Dégoutin and Gwenola Wagon.

· Workshop and group exhibition with ENSAD students for La Nuit des Musées, Grand Palais, Paris.