Sarah Roshem lives and works in Paris. After a doctorate in the relations between art and science at the University of Paris 1 Panthéon-Sorbonne, she oriented her activity as a visual artist towards useful art, so-called "useful" art, of a contextual nature, seeing the artist intervene in real life for concrete and productive purposes. She notably uses wax, which she declines into multiple objects of service, usable for personal and healing purposes. His practice is transformed over the course of experiences, in the sense of an increased relational intervention with the spectator. The latter becomes an active, integrated and functional element of the work, which defines itself both as an object and a service.
In her undeniably singular way, Sarah Roshem follows in the footsteps of Lygia Clark and Helio Oiticica, both passionate about the principle of bodily exchange and sensitive sharing. A work of art, for this founding artist of SR Labo (this initiative aims to make creation beneficial, positive, therapeutic), is above all a communicating element, an object that will animate the intervention of one spectator or several. Watching is not enough, active participation by the public, rather, is mandatory. Adept of the 'art medicine' and care, Sarah Roshem acts with a view to increasing the relationship with others, with 'autruis' in the plural, one might say, as her work Corps communs points out. This involves several stakeholders united jointly by flexible ties allowing them specific movements of the type "all for one, one for all". The artwork, for the occasion, leaves the chair rail (chair rail that it can find once its collective use is completed) and becomes an embodied object.

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Sorbonne Artgallery presents Sarah Roshem’s exhibition Corps Communs which is a set of works designed to be hung on the wall, then detached to become an intermediary between two, four or ten bodies. The work then links people together through straps and elastics to allow an experience of a connected body and a common body. A body that does not stop at our own bodily boundaries, a body put in sharing and putting into play our interdependence. Paying attention to others and listening to sensations, allows one to find a rhythm in a flow of exchanges in which everyone participates in a common momentum.

Paul Ardenne, art historian, critic and curator

Sarah Roshem lives and works in Paris. After a doctorate in the relations between art and science at the University of Paris 1 Panthéon-Sorbonne, she oriented her activity as a visual artist towards useful art, so-called "useful" art, of a contextual nature, seeing the artist intervene in real life for concrete and productive purposes. She notably uses wax, which she declines into multiple objects of service, usable for personal and healing purposes. His practice is transformed over the course of experiences, in the sense of an increased relational intervention with the spectator. The latter becomes an active, integrated and functional element of the work, which defines itself both as an object and a service.
In her undeniably singular way, Sarah Roshem follows in the footsteps of Lygia Clark and Helio Oiticica, both passionate about the principle of bodily exchange and sensitive sharing. A work of art, for this founding artist of SR Labo (this initiative aims to make creation beneficial, positive, therapeutic), is above all a communicating element, an object that will animate the intervention of one spectator or several. Watching is not enough, active participation by the public, rather, is mandatory. Adept of the 'art medicine' and care, Sarah Roshem acts with a view to increasing the relationship with others, with 'autruis' in the plural, one might say, as her work Corps communs points out. This involves several stakeholders united jointly by flexible ties allowing them specific movements of the type "all for one, one for all". The artwork, for the occasion, leaves the chair rail (chair rail that it can find once its collective use is completed) and becomes an embodied object.