Liselor Perez

Rubis Mécénat Prize

Saint-Eustache church, Paris

2025

Liselor Perez

Liselor Perez is the 2025 winner of the Rubis Mécénat Prize, in partnership with the Beaux-Arts de Paris, which invites emerging artists from the school to create a new installation for the Church of Saint-Eustache. With the support of curator Julia Marchand, she will present the installation Cent Sommeils in the fall of 2025.

With Cent Sommeils, Liselor Perez inhabits various places throughout the church, presenting a group of puppets scattered in the main nave and the side chapels. Inspired by the inner silence and the venue itself —which the artist frequented often during her research phase— Liselor Perez drew mysterious silhouettes that seem to emerge from the edifice itself. By imagining a “church keeper” whose body is covered in Jesmonite—reminiscent of the pillar against which he is leaning— or a puppet/being balanced in one of the chapels, with a stained-glass face, the artist connects the work to its environment, absorbing the surrounding motifs to cover it with adornment. Between poetry and science fiction, the works initiate a sensitive experience, an invitation to dream, where the puppet is no longer a simple plaything, but the embodied framework within which to question the meaning of “being” and “other”.

Liselor Perez

Liselor Perez was born in 1999 in Montélimar. After studying art in Lyon, she joined the Villa Arson in Nice, where her exploration of textiles and bodily silhouettes began. She graduated from Beaux-Arts de Paris in 2025 and is developing a practice that combines sculpture, performance, and installation. Her work explores domestic and intimate spaces tinged with irony and fantasy. Through sculptural bodies and dreamlike worlds, Liselor Perez revisits the memory inherent in familiar objects and souvenirs, mixing the gentle and the bitter. Her feminist and queer approach questions personal and collective histories by playing with the absurd and with vulnerability. She participated in the group exhibitions “Chère Melpomène” and “CRUSH” at the Beaux-Arts de Paris (2025), “Coller l’oreille au colimaçon” at the Frac Ile-de-France in Romainville (2024) and “The Cup of Water that Gives Itself to Thirst” at the Galerie Sans Titre (2023). In July 2025, she participated in the exhibition “La terre retombe au soleil” at the Centre d’art contemporain de Malakoff (the site of the Supérette).