︎ agathe.du.perou@gmail.com  ︎ Instagram

Agathe Dupérou


happily plays with the codes of ceramic, the original modelling material, exploding the form by reinventing its function: the plastic inventiveness is accompanied by a semantic shift and one guesses a disturbing but somewhat reassuring presence.
Enigmatic corporeality where the assignment of meanings is
diverted: screens and mirrors no longer reflect our own or the world’s image, they are called to be something other, organic, doomed to charge and change our gaze.
These non-functional object-things claim to be the bearers of a living interior landscape that remains elusive.

Text by Rosanna Gangemi


Agathe Dupérou-Peire

b 1992 France
Live and work in Brussels, Belgium

2020 Master Ceramique, ENSAV La Cambre, Brussels
2017 Bachelor Ceramique, ENSAV La Cambre, Brussels
2016 Bachelor Interior design, ENSAV La Cambre, Brussels

2022  Xhignesse, BE
2021 Prix Médiatine 21, Wolubilis Woluwe saint lambert BE
2021 Living Things, Melissa Ansel, Brussels BE
2021 Perseverance #2, curated by Stefan Pollack & Thomas Yanez, Montoro12 gallery, Brussels BE
2020 Love Hotel curated by Claire Mondy & Justine Court, Brussels BE
2020 LABODEMO#2 Centre Wallonie-Bruxelles, Paris, FR
2020 La Cambre Graduation Show, Espace Vanderborght Brussels BE
2019 June - All in one, KANAL, Brussels BE
2019 April - (In situ) Views from the top, organized by Aline Bouvy and Erwan Maheo, Cureghem, BE
2018 Infime Ecart, Viana Do Castello, PO
2017 SEEDS for something stronger than me* Wiels, Brussels BE

Relevant professional experience

2022 March-April  One month residency at MOLYSABATA, Sablons, FR

2022  Ceramic teacher, ACAstJosse, BE
2022 Ceramic teacher, Plateau96, Etterbeek BE
2021 Ceramic teacher, CMAH Mons BE
2019 (architecture workshops) Brussels European School EEB1, Uccle 2017 workshop organized by Douglas Eynon at the Uccle Institute for the blind and deaf, Uccle

studio assistance:
2021 Aline Bouvy
2019 Harald Thys
2016 to 2019 Gijs Milius
2016  Asli Ciçek

Blue Screen 


stoneware, lithium glaze 1250°,screws, rubbers

  ⓒ Laetizia Debain

Brown Screen


32,9x21x8,5 cm
stoneware, lithium glaze 1250°gaz firing, screws, rubbers.

ⓒ Laetizia Debain

Grey Screen


30,2 x 23,5x10 cm
Stoneware, lithium glaze 1250°,screws, rubbers.

ⓒ Laetizia Debain

Exhibition view, Montoro12, 2020



stoneware, platinum, glaze 1250° gaz firing, screws, rubbers.



stoneware, platinum, glaze 1250° electric firing, screws, rubbers.

LABODEMO#2 Centre Wallonie-Bruxelles, Paris, June 2020


Espace Adaventura
Justine Court, Agathe Dupérou, Céleste Joly,
Thien-Ngoc Ngo Rioufol
14/10/2022 - 13/11/2022
33 Avenue de l’hippodrome, 1050, Brussels, Belgium.

« Revealing a state of mind, the house is the image of the people who live in it. It
shelters our memories, our forgetfulness, our insconsciousness, everything is lodged there like so many chosen objects, pampered, maintained, bequeathed, inherited, which inevitably end up undergoing the erosion of time. The images of the house are as much in us as we are in it, like a mutual, invisible imprint. As much by its external aspect as its interior, the house says an intimacy. Our attention is brought here on what the walls contain: the interior of the chrisalyde, cocoon without window, where the objects which remain there dialogue in the shelter of the glances. »



Glazed stoneware, porcelain slip, lilthium glaze

Flesh And Blood


120cm x 60 cm
stoneware, porcelain slip, bone ash glaze, wax.
  ⓒ Gijs Milius

The Romanesque church of Saint Pierre de Xhignesse housed a remarkable sculpture of Saint Anne of the Trinity, probably made in the 16th century. The mother of the Virgin Mary is carrying her daughter who is herself carrying the baby Jesus. Stolen in 1980, this sculpture is still sought by Interpol.
This mise en abyme leads to anti-naturalist representations where Mary appears as young as Jesus or even the same age as his mother.

That inspired me to create an archaic organic version of this trinitarian vision. Thus, "Flesh and Blood" is a sculpture in three parts. The vertical base supports a second body which in turn supports a horizontal porcelain bone covered with a wax skin.

ⓒ Gijs Milius