Artist and dowser of stories, Popline Fichot invites us, through her sculptures, to experience an intertwining of play, pleasure, and death. Her work seeks to unveil stories where the invisible is revealed and where matter is activated like a memory that still vibrates. She draws the raw material for her work from oral histories, contemporary myths, urban legends, collective narratives, and fragments of overheard conversations. Her approach consists of weaving these narrative layers together to form an interlacing of parallel stories, where the circulation and transmission of the narratives generated by her pieces become political gestures. The artist’s practice is permeated by an attention to natural phenomena - decomposition, lightning, radioactivity - which she approaches not as scientific data but as passages, zones of transition capable of opening up our most complex emotions. Her formal vocabulary is built on artisanal techniques and unstable or organic materials such as pine sap, bone glue, beeswax, and birch pitch. She develops a process that oscillates between molding living materials, assembling objects, and modeling wood, metal, or ceramics, generating a deliberate ambiguity.
Her sculptures are composed like mechanisms, borrowing as much from puppet theater as from the language of stop motion. They function like bodies, inheriting from these practices an intimate mechanics: forms held in a state of latency, ready not to activate, but to thwart their own immobility.

Popline Fichot (born in 1999 in France) lives and works between Paris and Morvan. She graduated with a master’s degree from the École Duperré in 2023. She has presented her work in several institutions, including the Ménagerie de Verre (2021), the Swedish Institute (2023), the Musée de la Chasse et de la Nature (2026), and the Le Corbusier – Firminy site (2026). She has held solo exhibitions at the Love&Collect Gallery (2022) and Les Abattoirs – FRAC Occitanie (2023). She has also participated in group exhibitions at the Sophie Scheidecker Gallery, the Galerie du Crous de Paris, Système D, and DOC!. The artist received training from Anna Hulacová (Czech Republic), Laure Prouvost (Belgium), Frederik Exner (France–Denmark), and Antoine Liebeart (France). She completed two residencies in 2022 and 2025 at the Ernan studio in Albissola Superiore, Lucio Fontana’s former studio, followed by a residency at Villa Belleville in 2026. In 2025, she was awarded the Galerie du Crous program and nominated for the COAL student prize. Her poems and fanzines have been added to the collections of the Zentralinstitut für Kunstgeschichte, the Central Institute for Art History in Munich. She is also a member of the Royal Book Lodge collective.