Victor Guerin (b. 1993) is a Franco-British artist and engineer whose practice spans sculpture, installation and painting. He holds an MA in Sculpture from the Royal College of Art (2024) and an MEng from Arts et Métiers ParisTech (2016). Bringing together scientific training and material research, his work engages with contemporary ecological questions through form, structure and process. A finalist for the Hyundai Award for Excellence in Sustainability and Creative Practice (2024) and recipient of the Averil Picot Art Award (2023), he has exhibited at Saatchi Gallery, the Royal Scottish Academy, Dalkeith Palace and the New Zealand Academy of Fine Arts.
Guerin’s practice examines how human intervention reshapes ecosystems. Working at the intersection of technology and ecology, he explores forms of coexistence rather than opposition between built systems and natural processes. His methods range from traditional techniques such as lost-wax casting to industrial and digital processes including computer-aided fabrication. Rooted in cycles of use, alteration and regeneration, his material language brings together industrial residue and organic matter to foreground transformation, memory and resilience. Particular attention is given to the agency of materials — oxidised metal, eroded stone, salvaged fragments — allowing them to generate meaning beyond a logic of total control.
In 2026, ArtHouse Jersey commissioned Loud Speaker, an immersive sculptural work unfolding through sound and scent. By placing the viewer before a partially charred trunk suspended in an unstable state between support and collapse, and extending it through a sound poem assembled from wildfire research, the installation explores the material and sensory manifestations of an ongoing ecological crisis. In 2025, neimënster (Luxembourg) commissioned Cracks of Potential for the exhibition Graines, a body of work made from salvaged concrete, bitumen and stone that considers how nature re-enters urban space. In 2024, he presented Ephemeral Structures, a series of coil-built, computer-aided ceramics in which geometric rigour is set against organic flow. His Royal College of Art degree show, Echoes of Extraction, examined material life cycles and their ecological cost.
He is currently developing site-responsive works and public commissions.
The world is facing an interconnected environmental crisis shaped by climate change, biodiversity loss, pollution and material overconsumption. As an artist, this affects the conditions in which I work, the materials I use and the systems on which I rely.
My practice is rooted in sculpture, installation and painting, informed by both engineering and close attention to the ways human intervention shapes the evolution of nature. My work engages with structure, material behaviour, extraction, erosion, reuse and the tensions between resilience and fragility. Because these concerns are embedded in the practice itself, environmental responsibility is part of how I conceive, fabricate and present my work.
I recognise that artistic production has real environmental impacts, from material extraction and energy use in fabrication to transport, installation, packing and studio operations. No practice is perfectly sustainable, so I approach responsibility as an ongoing process of assessment, reduction and improvement.
I aim to prioritise reclaimed, salvaged, recycled and low-impact materials where appropriate, to make work with longevity and future reuse in mind, and to reduce unnecessary waste in production and installation. Where possible, I favour local sourcing, local fabrication and lower-emission transport options, while considering the embodied environmental cost of materials and processes from the point of design onwards.
My aim is to develop a rigorous and accountable way of working in which artistic ambition and environmental responsibility are treated as mutually reinforcing rather than opposed.