Coming from a family of ceramic sculptors, Sarah Scouarnec has always been immersed in this universe. Even as a child, she modeled clay in her father's workshop and brought to life many dreams from her imagination.

As an adult, she chose a career as a lighting designer, she worked in different artistic environments such as cinema, theater and museography. Being behind the scenes of the art world allowed her to sharpen her eyes and considerably broaden her classical and contemporary culture. From that point she discovered or rediscovered these geniuses who became her Masters and sources of inspiration such as Rodin, El Greco, Dali, Barbara Hepworth, Mourad Merzouki, Hofesh Shechter, Orson Welles, etc.

In 2014, she began creating lighting fixtures by mixing different materials such as paper and steel, but also clay. In 2020, she chose to only retain the clay medium. This is how she relieved herself of the functional side to refocus on Art and sculpture, and how she left her profession after 20 years of career to put herself in the spotlight as a Sculptor. It was for her a process of transformation, where inspiration metamorphoses into action, and where art becomes a personal voice as well as a necessity.

She then decided to train with other recognized sculptors such as Philippe Seené and Pierre-Jean Chabert.

Today, she works with clay and bronze in her workshop located at Ateliers de la Morinerie in Saint-Pierre-Des-Corps, near Tours (France) and participates in numerous local and national exhibitions: Rue des Arts in Beaulieux les Loches, Daily Art in Tours, Small Format Salon in Truyes, collective exhibition of the Fizz gallery in Orléans, Salon Forme et Couleurs in Chartres, Salon des artistes du Val de Marne, Salon Terre et Flamme in Rennes, etc. ... Her works are also presented in the Cygne Noir gallery in Tours and the Art Shot gallery in Sury-en-Vaux.

“I create figurative sculptures to which I like to infuse a touch of surrealist and fantasy.
My approach is based on the notion that the work must be a source of history and emotion, and that its role is to offer to the viewer a view of the world.
I draw my taste for the strange from the Surrealist movement but also from Fantasy, Symbolism, Mythology and Psychoanalysis.
My creations speak of feminine power and beauty, of our connection with nature, of humans as heroes linked to something greater than themselves.
They explore our torments and our existential questions.
To capture emotion, I focus on hands and faces, universal symbols of communication. For me, nothing is more expressive than an open hand or a face with furrowed brows”.
Sarah Scouarenec