Alexia Weill - sculptor

Alexia Weill, between the stone circle and the digital

For Alexia Weill, creation is a natural extension of life. Originally from Paris, born into a family deeply rooted in the art world—a gallery-owner grandfather, a grandmother who was an actress at the Comédie-Française—she grew up among paintings and words, in that atmosphere where matter, stage, and imagination intertwine. From a young age, she perceived art as a space of dialogue between the visible and emotion.

After studies in audiovisual and immersion in cinema and television, Alexia discovered, almost by necessity, contact with matter. It was in Jean-François Duffau's modeling workshop at the Paris Fine Arts School that she felt the visceral need to "touch" creation. This encounter with matter would become foundational. Settled in Switzerland since 2005, she devoted herself fully to stone sculpture: marble, granite, basalt. For her, stone is alive; it breathes, listens, responds. It becomes an accomplice, a mirror of human emotions.

For sixteen years, Alexia has sculpted stone as we write an intimate story. Her monumental works, often anchored in public space, dialogue with the places they inhabit. The circle form, which she has explored since her beginnings, runs through all her work. "It's a feminine form, soft, complete," she confides. The circle evokes continuity, movement, life. Each work is conceived as a mineral mandala, a meditation on the relationship between human and nature.

Her first major work, The Wave, pays tribute to Camille Claudel (1864-1943). Exhibited for the first time on the waters of Lake Geneva, it places woman at the heart of movement, in the wave and not under it—a poetic affirmation of free and powerful femininity. Since then, Alexia's sculpture has opened to new horizons while maintaining this symbolic breath.

In 2020, she began a turn toward digital art, seeking to transcend boundaries between real and virtual. She created Immersive Galaxy, an immersive digital sculpture visible through a virtual reality headset, presented in Prismes magazine and during an NFT exhibition at the Lausanne University of Teacher Education (HEP). This project took her to Cannes, then to the United Nations in Geneva, where she represented Swiss digital art—proof that for her, sculpture is no longer limited to matter but becomes a total sensory experience.

Her work then evolved between concrete and virtual, between monumental and immaterial. In 2024, she presented a second collection inspired by the Flon district in Lausanne: work on urbanism and architecture, on how sculpted forms can inhabit and redefine the city. Alexia literally sculpts public space there, in dialogue with the geometry of facades and the density of concrete.

This desire to inscribe art in reality is also found in Draw Me a Sheep, an installation placed on the roundabout in Saint-Légier—seven marble sheep evoking gentleness, dream, and childhood. She then collaborated with the municipality of Morges for a sculpture in public space, as well as with the Bussigny college around an unprecedented project: four sculptures in augmented reality, the last of which rests at the center of a pond created especially to host the work. These creations express her constant desire to harmonize art and place, gesture and nature.

"A work must be where it should be," she often says. For Alexia, art is inseparable from context: it takes root in an urban or natural space and reveals its hidden poetry. Monumental or discreet, her sculptures are born from dialogue with the site, as if each place whispered to her the form to come.

Over the years, she has multiplied collaborations and symbols. She designed the trophies for the Elles Spirit Open (international women's tennis tournament), the Leguriviera dedicated to business chefs (culinary trophy), as well as the Riviera-Lavaux Economic Promotion prize. In 2025, she created the Remarkable Woman trophy for CLAFV—all opportunities to inscribe sculpture in daily life and celebrate feminine excellence.

An explorer at heart, Alexia never stops experimenting. After sixteen years of stone, she allows herself mixing: wood, painted resin, pigmented concrete, clay. She recovers the powder from her marble sculptures to create new materials, in an eco-responsible approach. Stone, even transformed, remains the beating heart of her work; she reinvents it without betraying it.

Her universe now extends to canvas: she invests the canvas as a new territory of play, between drawing, coloring, and mixed techniques. There again, the circle persists, expressed in flowers, spirals, spontaneous forms. In these lighter works, she rediscovers the childlike part of creation, that instinctive freedom where the hand follows intuition before thought.

In sculpture as in drawing, Alexia creates to inhabit the world: to sculpt a space, reveal a place, offer a fragment of silence. Her work, both monumental and intimate, inscribes itself in matter as in the memory of landscapes. Between stone and light, between real and virtual, she shapes a poetics of the living, a work that doesn't impose itself but breathes with what surrounds it.

Dr. Marie Bagi

Director of the Musée Artistes Femmes (MAF)

Published November 5, 2025

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