Arthur Poujois (b. 1994, France) works across painting, drawing, stained glass, sculpture, installation, performance, and writing. He holds a BA (Hons) in Fine Art Painting from the Slade School of Fine Arts, UCL, and an MA (Hons) in Fine Art from the Royal College of Art, London.
His practice develops from a sustained inquiry into the aftermath of intensity: what the nervous system holds onto after overstimulation, what the body encodes not as memory but as residue, and how that residue can be made present without being translated into narrative. This research, structured through the ongoing project The Dopamine Machine, draws on neuroscience, contemplative phenomenology, and autofictional practice to propose what Poujois calls Pulse Theory: an ethics and aesthetics of what remains after the spike. Drawing is where this inquiry begins, the hand moving at the velocity of nervous system activity rather than deliberate composition, producing mark-systems that are inscriptions rather than representations. Performance extends this into the body as live medium. Painting, sculpture, and stained glass extend it further into material time, slowing the same logic into objects and surfaces that continue to act after the making has ended.
The materials he works with are almost always found and transformed rather than manufactured: kiwi vines cut from the tree and dried into a fixed gesture before being slowly enclosed in copper, eggshell dissolved to release its membrane, latex pressed against a broken mirror, gelatin cast from protein and mineral into something that behaves like skin. Branches, leaves, bark, and organic forms recur throughout the practice not as nature symbolism but as already-structured matter, things that have grown according to their own rhythm and carry that rhythm in their form. What the work presents is not the transformation itself but the interval it leaves behind, matter suspended in the trace of what it passed through.
Poujois has exhibited at ZÉRUÌ, the Sarabande Foundation, General Assembly, Kingsgate Project Space, RTA Projects, and Pipeline Contemporary, among others. He is currently in residence at Good Eye Projects, London, and is developing Electric Mind, a research platform connecting neurodivergence, embodied practice, and collective inquiry.
Recent solo exhibitions include Un captif amoureux, ZÉRUÌ, London (2025), Impossible Translation, General Assembly, London (2024) and Us at the End of the World, Lee-Alexander McQueen Sarabande Foundation, London (2023).
Recent group exhibitions include The Right to Protest, Greatorex St Gallery, London (2025), Funerals, Kingsgate Project Space, London (2025), Off-Site, RTA Projects, London (2025), The Archive of Lost Wonders, IZENA, London (2025), Situational Attempts, The Artist Room, London (2024), Ein Tir, Pipeline Contemporary, London (2023); Metamorphoses, Paris (2022); Potentials, 122 Minories, London (2022); Grotto, Ridley Road Project Space, London (2022); Selects: Vol.1, London paint club, Hoxton 253, London (2022); Synesthesia, Galerie Joseph, Paris (2021); Served, Lee-Alexander McQueen Sarabande Foundation, London (2021); Casting the runes, Harlesden High-Street Off space, London (2021).