Artist, born in 1981.

Lives and works in Paris.

She started studying at Ecole des Beaux-Arts de Paris in 2000 at Richard Deacon’s studio, and graduated in 2005. She also did a post-diploma at Ecole des Arts Décoratifs de Paris. Elvire Bonduelle is engaged in a demanding quest for happiness that obliges her to use all sorts of media : drawing, sculpture, video and painting.«Elvire Bonduelle thinks that art should be pretty and light but never frivolous. On the contrary, her work exudes authority. After graduating from fine arts school in 2005 she decided to dedicate her life to a serious quest for happiness, optimism totally in contrast to the cliché of the wretched artiste maudit. She likes to talk about “self-sculpture.”This is the source of a studied fresh- ness that could not exist without a consciousness of the difficulty of existence.The seriousness and joy go together. It’s tempting to see Bonduelle in an art historical light. Her objects sometimes bring to mind Minimalism, as with Wood is Good (2012), a hinged wooden armchair that can be unfolded and laid out flat. Among the artists she admires most are Donald Judd, obviously, Sol LeWitt, and Bruce Nauman, whose videos fascinate her because of the way they are built around paradoxes. But at the same time her work displays a fond- ness for ornamentation, and she readily cites the writings of William Morris and the Arts and Crafts movement. We’re also reminded of the mischievous humor of François Morellet, Taroop & Glabel’s collections of absurd images and the unreal constructions of Andrea Zittel. Bonduelle’s practice is not categorically correct. She works by intuition. Tiptoeing through art history, she plucks out its contradictions». Extract from Anaël Pigeat’s text, art press N°397.