Bio
Caroline Guilbert is a French-born, Brooklyn-based artist whose practice explores color as a living process of transformation. Working primarily with pigments extracted from locally sourced food and flower waste, she creates sculptural textile works that emerge through close observation, botanical dyeing, and sustained collaboration with natural materials.
Her work investigates the agency of color beyond the synthetic, embracing the unpredictability of organic pigments as they shift with time, light, and environment. Through slow, material-led processes, she reveals the hidden potential within discarded matter, inviting reflection on impermanence, ecological interconnectedness, and our evolving relationship with the living world.
Before dedicating herself fully to her studio practice, Guilbert spent more than a decade specializing in color strategy, design, and sustainability for international brands including Armani, Reebok, and Coloro. Holding a Master’s degree in Color, she brings this foundation into her artistic practice, where scientific inquiry and intuitive experimentation meet.
Her work has been exhibited throughout New York, including exhibitions at The Idea Kitchen in Larchmont, Solas Studio, and the Canopy CRIT Program exhibitions in Chelsea.
Artist
Statement
My practice investigates color as a living system shaped by time, environment, and our relationship to the natural world. Working mostly with textiles and pigments extracted from locally sourced food and flower waste, I approach nature as a collaborator. Through slow dye processes, discarded organic matter releases its chromatic histories, revealing hues shaped by chemistry, seasonality, and decay. Rather than imposing color, I practice material listening, allowing oxidation, gravity, light, and time to continue the act of making.
The work explores how color can be held without being fixed. Rather than directing materials toward predetermined outcomes, I create conditions in which pigments, textiles, light, gravity, and found structures remain active participants in the work’s formation. Material listening becomes an ongoing negotiation: responding to how color settles, how fabric yields, and how natural forces continue shaping the piece beyond my intervention. Color is treated not as a fixed attribute but as a record of becoming, revealing how materials respond to time, touch, gravity, and light.
The resulting pieces function as both visual studies and material records, documenting transformation and the overlooked beauty embedded in everyday systems. Depth, texture, and shadow evoke cellular structures and sedimentary layers, where softness meets structure and discarded matter is reimagined through processes of change.
Situated at the intersection of art, science, and ritual, the work invites slow looking and embodied attention. Each piece traces an exchange between human touch and natural process, proposing color not as a static surface but as evidence of life in motion.