Born in 1975 in La Rochelle, France. Lives and works in Paris, France.
An artist and art critic, Lili Reynaud-Dewar first trained as a dancer and studied law before graduating from the Glasgow Art School and the School of Beaux Arts in Nantes. In 2005, she produced a series of installations where the colours of the Rastafarian flag meet Ettore Sottsass design and suprematism. Through her performances, sculptures or texts, this creation is indicative of her love for the conflict of histories that a priori everything separates. Lili Reynaud-Dewar cross-hatches multiple cultural references, often taken from minority views and aesthetics which emerged through gender studies and camp. In this marginal pool of knowledge, the artist plays, looking for a reaction in the history of art, relentlessly connecting beings, their work, and her identity fuelled by transgenerational elements. Creator of myths, she accurately handles artifice, symbols, and dramatization. Whether she is studying the history of 20th century shorthand typists like a palimpsest (Structures de pouvoir, rituels et sexualité chez les sténo-dactylos européennes—Structures of Power, Rituals and Sexuality for Shorthand Typists 2010), the premises of cinema (Black Mariah, 2009), the vision of Egypt in Afrocentrism (En Réalité—In Reality 2008), the history of runaway slaves (The Center and the Eyes and Queen Mother Nanny of the Mountains, 2006) or the work and life of Ettore Sottsass (In Every Room There Is the Ghost of Sex, 2008), Lili Reynaud-Dewar does not stop questioning signs of identity which are not hers to broaden the definition of identity itself, in a general as well as a personal sense. “Art in search of yourself,” she says, “still seems a valid concept to me.”