School of Fine Arts of Avignon and Ecole Nationale Supérieure des Beaux-Arts de Paris.
Painting techniques :
Ink, pastel, acrylic, oil, mixed media.
Figurative period 1966 - 1995 :
Copies of masters, portraits, sports themes, sumo, judo..
Abstract period :
Since 1995 during which she has favored mixed techniques on wood panels.
Main exhibitions in France :
Cannes, Neuilly, Ile Saint Louis, Paris, Nice, Grasse, Sophia-Antipolis, Mougins, Palais Royal Gallery, Mouvances Gallery, Place des Vosges, Nîmes, Biarritz...
Main exhibitions abroad :
Bruges, London, New York, Barcelona, Padua, Beverly Hills, Monaco, Riccione, Lausanne, Ferrara, Frankfurt, Dornbirn, Shanghai, Wassenaar...
Parus chez T&A Editions : Stetbay-Matière (2005). Stetbay N&B (2010). Stetbay - Les tableaux d’une exposition par Philippe André (2019).
Stetbay, rencontre avec une artiste. Sumo par Stetbay. Les turquoises. Noir & Blanc.
To "build" her paintings, Stetbay uses canvas, wood, covers the surface, kneads the material, sculpts it. In her works, matter becomes flesh, painting becomes skin. The artist wishes to give an emotional quality to her painting, as well as rhythm and space. The form and the light are born from crumpled contacts, from the colorand from the reliefs of the material.
Stetbay strives to give her paintings the maximum expressive intensity, to convey her feelings. A quest for forms and reliefs that provoke the desire to touch, to caress, an exploration of superimpositions, floating, undulating forms, omnipresent in her paintings. In her works, Stetbay integrates rhythm, inscribes melodic lines that unite with color, playing on matt or shiny surfaces, on asperities, spikes or curves that evoke a physical implication, a desire to share.
Having integrated the knowledge of the drawing, the composition and the perspective, Stetbay, tackling an unusual and random technique, manages to transcribe it with the help of various materials favorable to such a translation such as wood, paper, plaster, resin, iron and bronze. When it comes to abstract sculptures, Stetbay is looking for the image of the heart. It then dismisses formal reality and replaces it with a series of unusual and paradoxical elements which, irresistibly, contribute to the construction of a supra-reality. The flow of life in the flowing matter, producing forms of spiritual and physical beauty, can arouse philosophical reflection in the viewer.
As far as figurative sculptures are concerned, Stetbay plays with familiar themes from which she extracts new truths. In each form her works bear the most direct seal of her personality. Her optimism appears particularly in her desire to tackle monumental sculptures requiring energy and time that her will and tenacity allow her to consider.