After a childhood in Berlin where she began to learn sculpture, Delphine Grandvaux settled in Strasbourg in 1990 for musicology studies. Alongside her work as a piano teacher, she develops her modeling practice and participates in her first exhibitions.
In the 2000s, she directed her work towards metal wire, in search of lighter and airier forms. Since 2017, she has been exploring a hand-made weaving technique, close to lace or weaving. Each stitch is formed one by one, according to a slow and precise gesture. The wire becomes volume, creating porous and vibrant sculptures, in constant dialogue with light, emptiness, and space. Her works evoke organic forms from the living — seeds, membranes, cocoons, corollas — and translate states of transformation or suspension. Some materialize the sound wave of words and reveal an elongated line in motion, like a breath that questions the link between language and matter.
Her technique is inspired by an ancient know-how, revisited in the 1950s by Ruth Asawa. Delphine Grandvaux fits into this heritage while developing her own distinctive plastic writing. In her hands, the wire pushes its own limits to become a sensitive and living material.
Since 2020, her works have been experiencing increasing international dissemination.
