Sophie Barut: Humanity at her Fingertips

Hi Sophie, it’s a pleasure to meet you! Let’s start from the beginning. How did you get into the world of art?

I’ve always been infatuated with sculpture. In kindergarten, I loved playing with clay and Play-Doh. In middle school, I took evening lessons at the Fine Arts institute in Grenoble. I then went on to study interior design at university in Lyon. 

I had a revelation whilst watching the biopic on Camille Claudel with Isabelle Adjani, that came out in 1988. From that day on, I made a pact with myself that that’s what I wanted to do with my life. But as my parents weren’t too impressed with that idea, I started my professional career by working in an Architecture and Interior Design agency. 

At the age of 40, I realized that if I did’t start following my dreams now, then I never would. I then decided to leace the offic job I was at in order to pick up sculpting lesssons once again. My first collection of sculptures is thus aptly named “Je me jette à l’eau“ (“Jumping in with both feet“). 

I quickly discovered the world of bronze sculpture and became deeply engrossed in this durable and seemingly eternal material, that can be passed down from generation to generation. So I learn’t how to chisel, mold and add patina to the bronze sculpture. 

I started my sculpting business in March 2018, the same time as my memoir was released. In that moment in time my personal life and my professional life came together as one, which was rather cathartic for me. I finally felt that I was in a good place. 

You use the lost-wax casting technique in order to produce your bronze creations. What are the various steps of this process and how long on average does it take you to complete one of your pieces? 

I start by working the clay or plaxtin into something I can use, then bring the finished product to a foundry (the ADOBATI foundry in the Drôme). Once it’s there, the sculpture goes through five stages: the molding, the creation of the wax cast, the refractory lining, the pouring and then the finishing touches. 

It’s a long process (2 to 3 months) which has remained mostly unchanged since the time of Rodin. 

The themes of childhood, disability and love are at the heart of your artistic expression. Why is that?

My sculpture comes from the heart and speaks on everything life has taught me through my somewhat atypical career as an artist. My husband was in a bicycle accident 8 months after we got married. He was only 23. He’s disabled now, physically and mentally due to the severe head trauma he experienced with the accident. 

While I had married a great sportsman, very rich intellectually and creatively, I found myself with a man confined to a wheelchair, fragile, diminished, who could no longer work or drive.  Utterly dependent... It sent shockwaves through my life and destabilized my entire existence. 

Thankfully our love for each other was still strong. He managed to retain many of the qualities that drew me to him in the first place. We fought for each other. Our journey as a couple has of course been riddled with complications, but also a lot of little victories, beautiful friendships and intense, unforgettable moments. The arrival of our 4 wonderful children is undoubtably the most special of all. 

Watching my own children grow was a strong source of inspiration, for me. Other than touching their little faces, their dainty little hands and tell-tale postures, what touches me the most in children is their ability to live in the moment, without it being corrupted by the past or the future. We can learn a lot from them. 

My sculptures are a love letter to life. A call for introspection and silence. An urge for others to seek internal freedom. For joy, for contemplation. 

The little bird that I add to almost every sculpture is there for a reason. It’s there to remind people “you are not alone“.

Which artists, female artists in particular, have inspired and continue to inspire you the most?

Camille Claudel first and foremost, without a doubt. “La Petite Châtelaine“ truly inspired me. That woman was so good at her craft, that she was almost able to transcend reality.

Vivian Maier is an American photographer that I discovered not too long ago. Some of her portraits of children are just so striking and have a lot of weight to them! I was inspired by one of his pieces in order to produce one of my latest creations, “la petite messagère“.

Elizabeth Vigée-Lebrun was an 18th Century portrait artist. She represents audacity to me. She was able to create a name for herself at a time when rampant sexism and misogyny were normalized in the art world. I adore her joyful and smiley portraits. Though she was a strong “feminist“ ahead of her time, she didn’t deny the joys of child bearing and maternity, which she illustrates beautifully in her work. 

Do you consider it a privilege being a female artist today? Or is it more of a burden?

The only burden I can think of for being a woman who’s an artist, could potentially be to juggle work and children. I believe it’s much harder for a woman to prioritize her career over the upbringing of her children. I feel like it comes easier to men, it seems to come quite naturally to them.  

In any case, for me it’s always been a rather tricky balancing act. And it’s not because I'm afraid of the way I'll be looked at, definitely not. I truly enjoy taking care of my children and watching them grow up. I would never forgive myself if something happened to them due to my lack of attention. 

The only drawback that I can think of is that I can’t do as many exhibits as I would like. I can’t throw myself into competitions that would take up too much of my time, or create immense sculpture designs. I just have to bite my lip and be patient.

I know that for now I have to make time for both, but the day will come that they will leave the nest and I’ll be able to devote all of my waking hours to my passion.

I have never seen it as a topic of frustration as my children have always been my priority. My family comes first. My children are my greatest creation.