Patricia Dreyfus

Statement

In my work, I explore diverse techniques and media to construct a world of human figures and symbols. My art confronts deeply personal questions—origin, identity, gender, and the complexities of being a woman—in an increasingly uncertain and complex world.
I work in series, moving fluidly between drawing, embroidery, and sculpture. Each series builds a universe born from my personal reality, shaped by keen observation and introspection. Rooted in feminist thought, my work challenges societal norms and invites reflection, carrying traces of poetry and irony while remaining accessible and resonant with others.

Patricia Dreyfus was born in 1951 in Dakar, Senegal, and grew up in Paris. At the age of 16, she decided to live independently. She began her career in the video film industry alongside the father of her first daughter, who was a filmmaker. During this time, she learned film editing and directing. After their separation, she continued making art documentaries under her maiden name, Patricia Gerber. Her subjects included Shirley Goldfarb, an American painter living in Paris, and Boris Tissot, a sculptor working with shortcrust pastry. She also collaborated with Roberto Matta. These films accompanied artists‘ exhibitions at the Centre Georges Pompidou, the
Musée d’Art Moderne de Paris, the Pontoise Museum, and other prestigious venues. Alongside her work as a videographer, Patricia Dreyfus studied art from 1982 to 1984, focusing on drawing and sculpture. She trained with Gregory Mazurovsky at the American Center and attended courses at the Académie de la Grande Chaumière in Paris. During this period, she produced numerous bronze sculptures. With Pierre Dreyfus, she founded a corporate film production company, one of whose films won an award at the Biarritz Festival in 1987. The couple had three children. The tragic death of their youngest son in 1992 pro- foundly changed their lives, and the family relocated to Basel. Patricia Dreyfus then left industrial film production to devote herself entirely to her artistic work. Following her separation, she has lived and worked in Berlin since 2012.

What is it about your studio space that inspires you?

It’s a place where I can physically engage with different techniques—whether sculpting, drawing, or working with textiles—allowing me to explore themes of origin, identity, and gender in a deeply intuitive way.

What sounds, scents and sights do you encounter while in your studio?

In my studio, I hear the soft scratch of pencils on paper, the quiet hum of tools, and sometimes distant city noises in the background.

What is your favourite material to work with? How has your use of it evolved throughout your practice?

Everything begins with drawing. It’s my starting point—a space where ideas emerge freely. I also work with small-scale sculpture, shaping forms instinctively and without models. This automatic approach allows me to let ideas take shape naturally, without restriction.

What themes do you pursue?

I don’t plan my work in advance. My creative process is spontaneous and often shaped by what I experience personally, giving some of my pieces a biographical dimension. Sometimes I’m influenced by artworks that resonate with me or by global events that leave a mark. Themes of origin, identity, and gender naturally emerge in my work, reflecting both personal reflections and broader social realities. I explore the balance between vulnerability and strength, the seen and the unseen, through human forms and symbolic imagery

What advice has had the biggest impact on your career?

I don’t follow advice that distracts me from my own path. My work is driven by instinct and intuition, allowing ideas to develop naturally without external influence. Trusting this process has been the most important guide in my career.

If you could install your art absolutely anywhere, where would that be?

I would love to exhibit my work in a public space that is highly visible and accessible. Showing art in a gallery with only two visitors doesn’t interest me. That’s why I enjoy hosting open studio events—they allow me to share my work and ideas with a truly engaged audience. After all, I believe that’s what most artists seek: meaningful connections with people who are curious and open to discovery.

If you could only have one piece of art in your life, what would it be?

If I could choose only one piece of art, it would be an artwork that continues to reveal itself over time—something layered and complex, much like the works of Louise Bourgeois. Her ability to translate emotion, memory, and identity into form deeply resonates with me. I would choose a piece that invites endless reflection, evolving with me and offering new meaning at every stage of life.

If you weren´t an artist, what would you be doing?

If I weren’t an artist, I would likely be working in a field where I could still explore human stories and emotions—perhaps writing or filmmaking. I’ve always been drawn to creative ways of understanding identity and memory. Whatever the path, it would need to allow me to observe, question, and express ideas freely. Creating has always been essential to how I engage with the world.

What are your favourite places besides your studio?

I love spending time at the theater and the cinema. Both offer powerful ways to experience stories and emotions. Of course, I also enjoy visiting well-curated exhibitions, especially those in Paris, where the presentation of art often feels truly inspiring. These places allow me to immerse myself in different narratives and creative worlds, fueling my own artistic process.

EXHIBITIONS

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