Since the 1990s, Françoise Pétrovitch has produced one of the most powerful bodies of work on the French art scene. Amongst the numerous media she has explored—ceramics, glass, ink washes, painting, print and video—drawing retains pride of place. In constant dialog with the artists who have preceded her, she has been able to measure herself against the incontrovertible motifs of “high art”—Saint Sebastian, still lifes, etc. Pétrovitch’s art reveals an ambiguous world, willingly transgressive, playing with conventional boundaries and eluding any interpretation. Intimacy, fragments of life and disappearance, alongside the themes such as the double, transition and cruelty run through her work, which is inhabited by animals, flowers and beings, and whose atmosphere fluctuates between light and dark, rarely leaving the spectator unmoved.
She has enjoyed numerous solo exhibitions both in France and abroad. The FHEL in Landernau (FR) hosted a major retrospective of her work and a monographic exhibition was dedicated to her at the BnF, Paris in 2022. In 2018, she was the first contemporary artist to be awarded a solo exhibition at the Louvre-Lens. Over the past few years, Pétrovitch has produced monumental wall drawings and large format ensembles, for the Galerie des Enfants at the Centre Pompidou, the West Bund Museum, Shanghai, or for the Ballets du Nord Company. Her works are included in many private and public collections, most notably the Centre Pompidou, Paris (FR), the Voorlinden Museum, Wassenaar (NL), the National Museum of Women in the Arts, Washington D.C. (US), the Musée Jenisch, Vevey (CH), the Musée d’Art Moderne et Contemporain of Saint-Etienne (FR) and of Strasbourg (FR), the MAC VAL (FR) and numerous regional art centers throughout France as well as the Salomon and Guerlain Foundations.