Born in 1984 in Paris, France.
Lives and works in New York, Paris, and Brussels.

Sophie Giraux is a moulder of poetry. Whether realised through video, projection, sculpture or installation, each of her works is the pure manifestation of its sensorial content. Sometimes at the core is a true story steeped in emotion or nostalgia, others times it is a current contemplation; always, the meaningfulness contained in its expression is ripe, and its physicality, while sound, possesses the patent quality of sheer ephemerality.



Charcoal powder
30 cm x 30 cm x 30 cm (oblique) – initial state

A sculpture that begins life as a perfectly formed parallelepiped; the passage of time then leads to its collapse, lending the work a whole new configuration.


SEVENTY SEVEN SECONDS; duo-projection, 2012
Two Manipulated Kodak carousel slide projectors on timers
Duration 1’17”
Dimensions variable

During the course of one cycle the projectors continuously search for their focal point, the two rectangles of white light independently shrinking and then enlarging, becoming slightly superimposed at their adjacent edge and for an instant gently achieving an identical size.


Untitled, 2012 – exhibition view
Homemade rust, water
Dimensions variable


Untitled, 2012 – exhibition view
Mirror, burnt and scratched on the backside
120 cm x 50 cm

A marred reflecting surface makes room for transparency.


As long as it lasts, 2011
Charcoal powder
Dimensions variable
Edition of 3

Two cubes comprising of densely compacted charcoal powder. One is perfectly formed, the other is partially collapsed due to the force of gravity acting on its weaker constitution once its formwork is removed. Without interference, both structures remain precisely intact.


Vérité(s) partielle(s), 2011
dia projector, motor, pvc, vinyl and wood
35 cm x 35 cm x 30 cm

A fluctuating rectangle of light projected via a motorised wheel attached to the projector, which revolves in front of the lens. The image appears to subtly split away from itself and become reabsorbed.


When light travels trough a lens, 2011
glass, painted wood, black ink, metal
87 cm x 70 cm x 35 cm

On the white base of the glass box is the black outline of a single circle; on top of the glass box is a glass lens. Looking onto the lens from above causes chromatic distortion – an optical phenomenon – by which the black line meets the circumference of the lens and therewith transforms into a circular rainbow comprised of the full colour spectrum.


Cube (expérimentation #1), 2010
plaster powder
dimensions variable

One cube comprising of densely compacted plaster powder, perfectly formed. Without interference, it remains precisely intact.



2,32 Go (une épaisseur de temps de 392 images superposées), 2010
ink-jet print of 392 superimposed images
50 cm x 50 cm
Edition of 5

392 overlaid, digitised, personally significant photographs. Superimposed in this way, these images have become unreadable, creating a black hole or a blindspot, serving to flatten layers of memory. Only the outline discloses a hint as to their subject matter.


L’espace d’une année en une minute, 2010
video projection (loop)
dimensions variable
edition of 3

A video projection depicting the 365 days of the year in the course of one minute, true to the authentic calendar, including days per month and accounting for leap-years, thus representing a sense of infinite time, accurately compressed.


Diffraction marginale, 2010
Retro projector, screen
Dimensions variable

The projector acts like a ready-made and reveals an optical phenomenon: marginal diffraction (or flare) due to parasitic light diffusion inside the focal mechanism.


Polaroid. White screening. (waiting for something to…), 2009
Video; 4′ loop
Dimensions variable

A photo produced by photographing light; an abstracted image achieved by filming the instant process of the polaroid that reveals that image.


sophie giraux_plâtre-2_waxy pith

Plâtre #2 (hexagones), 2008
Plaster forms
dimensions variable

The existing hexagonal floor tiles have been reproduced as thin plaster wafers and positioned on the floor surface. The more public who visit the space, the shorter-lived the work.