Lucie Lanzini a étudié à l’Ecole Nationale des Beaux-Arts de Lyon dont elle est diplômée en 2009. Depuis lors, elle vit et travaille à Bruxelles où elle développe une pratique sculpturale.
Elle a également étudié à Emily Carr University of Art and Design durant un an et a développé sa pratique au sein de résidence comme Est-Nord-Est à Saint-Jean-Port-Joli au Québec et Moly Sabata où elle a passé deux mois à travailler la céramique en mars et avril 2024.
Elle est lauréate de divers prix belges comme Art Contest en 2010, le prix Macors / Médiatine en 2018, et elle a réalisé le stand de la Fédération Wallonie Bruxelles à Art Brussels en 2019. Son travail a été présenté dans des expositions personnelles et collectives au sein d'institutions comme à la Friche la Belle de Mai à Marseille, au Centre Wallonie Bruxelles à Paris, au Botanique à Bruxelles, à la Biennale d’Enghien en 2020 ou encore à la Triennale de Beaufort 2024 qui a lieu le long de la côte belge.
Elle a également collaboré avec de nombreuses galeries comme Ballroom gallery, DMW Gallery, Hopstreet Gallery, Jozsa Gallery, La Traverse, Plagiarama, Hypercorps, MAAC, 10N, Eleven Steens etc ... et son travail a été montré sur les foires Art Brussels et Indepedent Art Fair (Bruxelles). Elle collabore désormais avec la Belgian Galerie avec laquelle elle a été sélectionné pour les foires d’art Luxembourg 2024 , Art Anvers 2024 et Ceramic Brussels 2025.
Ses oeuvres sont présentes dans des collections privées belges, françaises et luxembourgeoises.
En parallèle, elle enseigne actuellement à l’Académie Royale des Beaux-Arts de Bruxelles (Arba-esa) où elle est responsable du cursus de Sculpture et elle intervient régulièrement dans diverses autres écoles d’art où elle donne des workshops et est invitée pour des jurys et des conférences.

Lucie Lanzini elaborates her works, that exist between sculpture and installation, by means of tension. She creates them by juxtaposing materials that are often paradoxical — raw, organic, or moulded — at scales that disrupt the original function of the elements she symbolizes. Thanks to demanding production techniques, including sandblasting, silverplating, oxidation of glass, moulding, imprinting, etc. — Lanzini is forever pushing at the limits of her material knowledge. She is drawn to materials for their functional value and their capacity to transform the object. The result is troubling, at times strange, like the walnuts in translucent glass and the leaves of trees in jesmonite. The recent knots and sponges in bronze (Fouloir, 2021) are traces of the artist’s latent obsession to push back, extend and fashion the constraints and possibilities of materiality. Since their first showing in Belgium in 2013, the works by Lanzini (born in 1986 in Belfort, France) seem to have liberated themselves. The architectural elements—plinths, columns, doors, window frames—or ornaments still serve the graphic structures with the volumes defined by voids and volumes. But through the bright colours with which she sometimes stains them, the less timid shapes further escape (a term evoked by several of her titles) their fixity and their contexts of origin; they insert themselves into less congruous domestic or natural environments. The greens, yellows, bright blues, and acidic colours pronounce a fully aware artificiality.
Lucie Lanzini, who enjoys trompe l’œil, does not believe in this illusion. Instead, she tends to recall the function of sculpture. As proven by Répertoires (2019), the small bas-reliefs reprising shapes, models, and textures at the heart of her practice, the artist proceeds by assemblage and through conversation. By openly exposing this index, she vindicates an adherence to a compositional and of mate- rial-oriented approach, which evokes the very essence of the sculptor’s gesture. She invites us to appreciate the renewed inventiveness of a practice that subverts the ordinary.
With Captives (Maison des Arts des Chartreux in Brussels, 2016) and the mirrors placed on the floor against the grey polyurethane monoliths, the artist was already proposing new inroads towards that which we tend to overlook. The play of light and reflection that the polished surfaces create offered a new mobility to the fixed contours of the almost marbled blocks. The ramps and glass guardrails (Succession, 2019) multiplied the reflections around the space and emphasised how a sculpture can occupy a space. In the patio of the 10N in Brussels for the group show Time hangs heavy (2021), the white silicone curtains (Reversed skin) imitate the building’s late 1950s brickwork. Installed outside, against the bay win- dows, they reversed the intimacy of a bourgeois space into the external, natural environment, interrogating the decorative and structural role of these accoutrements. Between interior and exterior, her works often hark back to the ambiguity of the border, and of the place of passage that both separates and conjoins and supports yet constrains. At the Friche Belle de Mai de Marseille and recently at DMW Gallery, her large round, hanging pieces in resin imposed themselves on the gaze like tools of magnification. These transparent yet opaque Oculus allow for reality to be seen with some delay. They propose we slow down to observe the thickness of the world.
Lucie Lanzini’s environments are rife with clues and dissonance. Just as the arrows in The arrow of times or the coloured columns (Balises) of the Biennale d’Enghien (2020), these disturbances signal improbability, but most of all they recall the life the artist instils into her installations. The unusual situations she creates invite alternative routes of circulation, defying impermanence and guiding the gaze towards the unexpected.

Antoinette Jattiot