In 2014, Cottier’s ‘Les Bonshommes’ series was born as she began to question her relationship between herself and the people around her - interrogating where her representation situated her position in society largely contributed to her interests in identity and form. These figures have evolved throughout the past ten years to have a more abstract expression as this gives her more freedom to redefine bodies in a way that is both human and other worldly, monstrous and delicate.

These juxtapositions of form are crucial to Cottier’s practice as her paintings are instinctual. Through using the act of creating as a personal outlet, she doesn’t think about how individuals will notice her work but rather how they will be impacted. Either negatively or positively, any reaction is a success.

Proving both painful and sweet, Cottier believes that women artists experience less access to the art world and so they need to work harder to break glass ceilings and be noticed in the industry. She has seen a movement for female artists to be as visible as men, but it will only be proven to be fact when we no longer need to mention the gender of the artist.

Camille Cottier has been involved in solo exhibitions in Paris and Brussels and has also taken part in group exhibitions such as Origins here at RHODES and PANEL Rose at Dumonteil Contemporary Gallery in Paris.