About us
My name is Nadia Dloussky.
My path intersects with both the visual arts and human adventures.
With the guiding influence of a grandfather who worked as a sculptor for Rodin, and a family history woven from both glorious and shattered destinies, I hold fast to the belief that one can create with one’s own hands and live many lives.
I have both studied visual arts and management, I have driven numerous development projects, I directed a visual arts training school, and I finally chose sculpture as my main medium.
I shape faces in clay, the fragile, malleable material of the origins. Then I fix them into a ceramic or bronze. Thus, undeformable, they become an unavoidable creation in our life space, "making face" as Levinas says, and they impose their questioning on us.
Sculpture is like that: one can't escape it.
My work explores interiority, the relationship with others, exile, filiation...
I have been exhibiting my work since 2011. Some have joined private collections. Others continue to travel through exhibitions, residencies and places of memory.
For me, sculpting means collecting the traces of what has been experienced. Offering a presence. And sometimes, a part of eternity.
"My work leads me into the world of Human beings".
I am searching for their souls. I am trying to capture what lies hidden, the invisible traces of their stories. Their pain, their vulnerabilities, and their strengths too.
By freezing their features in the material, I'm really trying to bring out what's in motion.
In this quest, I observe what these faces tell us about ourselves, the bond they forge. I listen to their inner music and see in it the mirror of our common humanity. That's where my work lies, in the diversity of beings that always remind us of the clay from which we are made.
Series and Reveries
I always dig in the same furrows like a farmer working his land. Images that question me all the time, complete imaginations that open up while dialoguing with the material. I give them the name Reveries to honor Gaston Bachelard, who wrote beautifully about how clay can be a source of creativity. These fields of creation become a series, which are constantly pursued. Below are a few of them.
Exile
"My family heritage is forged around exile, the quest for identity, geographical mixing, and the value of multicultural origins. People appear to be like a forest of various tree species, extracted from the same soil, the same earth.
From this earth I mould body envelopes and it is the links between them that I am interested in."
In this earth I mould fleshly envelopes and it's the links between them that interest me.
Icons
"I shape faces as a way of reaching out to others, making them exist, letting them question me".
Are there two of us?
"The body hides as well as it reveals who we are. The face serves as a mirror to view the other as a reflection of ourselves: Am I the same person? Are we two?"
Immortal envelopes
"The ephemerality of memory. The struggle to keep alive images faded by time. A record of what history has made of us. Fragile bronze. Fragments of eternity."
Three Melancholies
"In Mythology, the Three Graces of mythology were the goddesses of charm, beauty, and creativity, both young and naked, and created by men. Leaning over our women's cradles, today's fairies give us absence, memory, and reverie as gifts."
Trophies
"Is the human species recognisable by its mortal envelope? I had fun looking back over the last century.
Trophies of species from the 22nd - 24th centuries, from the antiquities collection of the Xiao Tuang Museum (China)."