Isabelle Collett

Catherine Pennec (C.P.): Hello Isabelle, thank you for taking the time to speak with us. We’re delighted to host your exhibition, "Nature Will Never Die," here at the gallery. To start, could you tell us about you and what drew you to art?

Isabelle Collett (I.C.): Hello Catherine, it’s a pleasure to share this moment with you. I believe it all began in my childhood, actually. I grew up in the Loire Valley, near the Chinon State Forest. My father, an amateur artist, would often take me on walks, and these moments of immersion in nature profoundly shaped my imagination. By the time I was 19, I joined the Aimé Venel Studio in Tours, where I could hone my skills, particularly in figurative art. But the call of nature has always remained central to my work.

C.P.: Your work is indeed deeply influenced by nature. Could you explain your creative process? How does your relationship with the environment tangibly manifest in your work?

I.C.: It all starts with close observation. I love spending time outdoors, whether in the woods or even just my own garden. The shapes, textures, and movements in nature provide an endless source of inspiration. For instance, the series "Enracinement" was inspired by a simple experience in my kitchen: a sweet potato placed in a jar for its shoots. I was fascinated by the roots developing under the water, their complexity and resilience. It made me reflect on life cycles and how everything in nature is in constant transformation.

Technically, I work with natural materials. I’ve learned to extract my own pigments and dyes from dye plants, a technique I’ve been practicing for four years now. This approach is both an ethical and aesthetic choice, aligning with respect for the ecosystem. For example, I use tannic colours stabilised with iron sulphates and create my works on ecological paper handcrafted in Corrèze.

C.P.: This eco-friendly approach is quite rare in the world of contemporary art. Where does this choice come from?

I.C.: Over the years, it became clear to me that I couldn’t simply represent nature without incorporating this ecological dimension into my art practice. Nature is both fragile and resilient, and I want my work to reflect this duality. I chose to use sustainable and environmentally friendly materials, whether it’s the pigments or the paper I work on. Collaborating with local printers who share these values is also very important to me. There’s an artisanal dimension to it all, a return to older practices that allow me to be in harmony with nature while creating.

C.P.: You’ve travelled a lot, especially in England, where you received a grant from the Arts Council of England. How did these experiences abroad influence your work?

I.C.: My time in England was a real revelation. It 2002, a grant allowed me to exhibit at festivals like Art Fusion and the Birmingham Art Festival. These experiences exposed me to a new artistic culture, more focused on experimentation, and encouraged me to explore media and themes I hadn’t yet tackled. The contrast between English and French landscapes also enriched my imagination. These travels marked a turning point in my career, helping me to develop a more personal, assertive style.

C.P.: Your works often convey a message about the relationship between humans and nature. Is this a personal cause for you?

I.C.: Yes, in a way. I see my work as a reflection on our connection with nature and also as an alarm call. We often try to control nature, to shape it to our desires, but it always eludes us. It’s resilient, but also vulnerable to human pressures and today’s environmental issues. Through my work, I try to remind people of this reality. I want people to realise the importance of preserving our connection with the environment, not just for us but for future generations.

C.P.: You seem very attached to the notion of cycles in your creations, particularly with the "Enracinement" series. Could you tell us more about this recurring theme?

I.C.: Nature’s cycles—growth, decay, and rebirth—are ever-present themes in my work. They remind us that nothing is static, everything is constantly changing. In the "Enracinement" series, I wanted to explore this idea more concretely by observing how roots develop and spread, not only in the soil but also in our collective and individual memory. It’s a metaphor for our own rooting in life, our invisible ties to the world around us.

C.P.: Let’s talk a bit about your influences. Are there any artists, writers, or musicians who particularly inspire you?

I.C.: Oh, so many! In terms of visual artists, Marinette Cueco is a major influence for me. She has managed to combine weaving, tapestry, and natural elements in her work, and she’s a big inspiration. Then there are writers like Claudi Hunzinger and Isabella Tree, who inspire me deeply, especially in how they write about nature and introspection. And, of course, music is an integral part of my creative process. I often listen to music while I work, and I have rather eclectic tastes.

C.P.: You’ve mentioned female artists like Marinette Cueco and Agnès Denes. Are there any female figures you see as role models on your journey?

I.C.: Absolutely. When I was 20, I met Aube Elléouët, a wonderful, gentle  and generous woman who kindly welcome me into her home to tell me about her carreer, the difficulties of this profession, the particular environment in which she had grown up (she was the daughter of André Breton and Jacquelin Lamba and had grown up between France and other countries , lin the US notably)  and was close to many artists, among them Calder, whose many mobiles were dited around her house. She opened my eyes to a world that for me was inaccessible, and I understood her visceral way of life. 

C.P.: Finally, what are your plans and aspirations for the future?

I.C.: I still have many projects in mind. I want to continue exploring the relationship between humans, art, and nature. I’d also like to collaborate more with scientists, especially in botany, to deepen my knowledge of the materials I use. And, of course, to keep creating works that invite reflection and contemplation.

C.P.: Thank you so much, Isabelle, for this enriching conversation. We look forward to seeing the impact of "Nature Will Never Die" on our audience.

I.C.: Thank you, Catherine. I hope this exhibition will allow visitors to see nature in a new light