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Lisa Rommé Shtormit. Sensory Artist | Olfactory Practice

@art_olfactory

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03.10 Paris National Artist’s days @journeesnationalesdesartistes
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Originally created for the immersive project nOsense, these linocuts after Gilles Deleuze’s “Le Pli” are now stepping into a new context.

This is a rare occasion to experience the hand made prints in an open-air dialogue with the Seine, the Parisian historic atmosphere of the bouquinistes. Creating an outdoor scent object was a true challenge: balancing subtle refinement with enough intensity to endure on paper in the open air.

Join us to smell the new olfactive creation, view the artwork, and acquire a piece for your collection.

🗓 October 3 | 14:30 – 18:00
📍 Location:
11 Quai de Conti, 75006 Paris
Boîte de bouquiniste n°15 (facing La Monnaie de Paris)

📩 DM me if you can’t find it!

🗺 Map in the carouse

Poster design by @funlovinkate

Photo by @anna_shumanskaia taken in Monnaie de Paris by @art_olfactory

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8 days ago

Research has always been an indispensable phase of my artistic process.

Back at the Film Institute, I didn’t even call it “research”, it was simply the first thing you did when assigned a topic. We called it “gathering material.” Since 2005, whenever a subject catches my interest, my ritual remains the same: I go to the library, examine everything about the era (and the periods before and after), study what others have created, sketch, take notes, photograph, analyze, and synthesize my findings. Sometimes, the conclusion manifests as a single visual sign, a visual quintessence of the era’s ethos and symbols.

I often study a period’s socio-cultural structure, but I am particularly drawn to objects. It is through material culture that I truly understand social psychology. I’ve been using this methodology for over two decades now (even in art school we were taught to analyze, though the focus there was more on technique, composition, and master copies).

Only recently has the term “artistic research” gained full academic legitimacy, complete with dedicated conferences and journals. Over time, my own practice evolved from gathering reference material to executing deep, rigorous research.

This deep dive recently led to a major milestone: my research thesis on olfactive art and traditions was accepted for publication in an academic journal!

I am absolutely thrilled and deeply honored. There is still much work ahead, but I am profoundly grateful to the Smell Studies Journal, founded by dedicated scholars, for including my work in their upcoming issue.

📷 Photo by @anna_shumanskaia
Featured project: “nОsense”.
#olfactoryart #art #artreserch #artist #arthistory taken in Paris by @art_olfactory

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11 days ago

Attention to detail is essential for an olfactive artist, not only in liquid formulas, but in proportions, textures, materials, colors, and even temperature.

This series of sculptures began as my research into royal sarcophagi and tombs in London, and later continued in Paris.

Every single fold is sculpted entirely by hand, rather than simply folded from a piece of clay. Each tiny crease was meticulously shaped and polished using sandpapers, velvet, felt, silk, cotton swabs, and toothpicks, hours spent in pursuit of pure perfection.

The unique satin-gloss texture creates an interplay of light, shadow, and color. Hidden within the base lies a secret chamber for olfactive capsules.

Swipe through the carousel to see more pictures ⤵️
📷 Photos by @anna_shumanskaia
Project “nOsense”, immersive and olfactory installation will partially present at @journeesnationalesdesartistes 2026.
#art #olfactoryart #scentart #artist #parfume taken in Paris, France by @art_olfactory

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15 days ago

Just me staring out the window, trying to predict the weather!

I’m currently preparing my works for National Artists’ Day, mapping out several display options. The real challenge here is threefold:

First, I naturally want to show way more than the space can actually hold.

Second, the unpredictable Paris weather in early October: it could be gloriously sunny and warm, or gray with pouring rain.

And third, the fragility of the pieces themselves. They are obviously much safer inside an exhibition hall than out on the banks of the Seine, exposed to the open air and strong October winds.

So here I am: thinking, moving, rearranging, adjusting, and trying to guess what will stay true to the concept while keeping the artwork safe. These pieces are made of polymer clay and hand-polished over several months, so finding the perfect compromise is key. I hope, I can!
#art #olfactoryart #jna2026 #parisart #scentart
Foto by @anna_shumanskaia taken in Paris, France by @art_olfactory

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17 days ago

New projects are already in the works, but my lips are sealed for now!

Being an artist requires titanic patience. It’s essential for refining techniques, doing deep research, and mastering complex materials, but you also need patience for the waiting game: waiting on responses from major institutions, project approvals, and grant confirmations etc. While I’m currently doing the painstaking background work with French institutions to bring several of my projects to life, alongside negotiations for upcoming exhibitions in the EU, I have to keep quiet until agreements are signed and dates are set in stone. It’s not superstition, it’s professional etiquette.

Oof! While working behind closed doors on these long-term projects, I’m craving something “fast” and light, as much as possible in olfactive art! So, while I’m meticulously laboring in the studio, handling correspondence, and attending official meetings, I’m totally open to new projects with boutique galleries, pop-up events, unique collaborations, and other creative activities!

For all inquiries, drop me a line at lisarommeartist@gmail.com or send a DM.

#olfactoryart #art #smell #scentart #artstudio

Foto by @maugliparis taken in Paris, France by @art_olfactory

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a month ago

Le Pli is a new olfactory composition I am developing specifically for the National Artists’ Day in France. The foundation of this formula is built upon my own observations and insights gathered while sniffing old books.

They smell simultaneously of dry pages and damp cellars.
They smell sweet, sometimes almost cloying.
They smell of dust, occasionally of face powder, and sometimes even of a hospital room.

I also incorporated findings from other researchers.
«The recognizable scent of old books comes from the breakdown of lignin, an organic polymer found in wood-based paper. Over time, exposed to oxygen and light, lignin decomposes and releases organic compounds, dominated by vanillin, which gives the pages a distinct vanilla scent. It also produces benzaldehyde and ethylbenzene, adding subtle notes of almond, grass, and wood to the bouquet.»

Scientific proof of this phenomenon comes from a study by researchers at University College London (UCL), who analyzed the volatile substances of old paper and officially classified the smell of antiquarian books as a harmonious blend of vanilla, wood, and sweet almond.

If you’re curious to know what my old books will smell like, you’ll only be able to experience that scent on National Artists’ Day! Let’s meet by the Seine at the bouquiniste. #olfactoryart #smellart #parfum #scentart #art
Foto by @maugliparis taken in Paris, France by @art_olfactory

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a month ago

When it comes to site-specific projects, location is everything!

So where else could a project based on a book by an iconic French philosopher be exhibited and become part of Paris’s intangible heritage? At a bouquiniste box right on the Seine, of course!

The trade of second-hand books along the banks of the Seine dates all the way back to the 16th century (around the 1550s). These iconic green boxes have always been gathering spots for intellectuals: hubs of reflection, emerging ideas, heated debates, intellectual excitement, and, of course, that irresistible scent of old paper.

Gilles Deleuze’s book The Fold: Leibniz and the Baroque (Le Pli: Leibniz et le Baroque, 1988) explores the philosophy of Gottfried Wilhelm Leibniz, Baroque aesthetics, and the metaphysics of continuous change, centered around the key concept of “the fold” (le pli). Deleuze views the fold as the fundamental operation of both matter and existence itself. The universe, in his thought, is not made of separate, fixed elements, it is infinitely bending, unfolding, and folding anew. It is precisely this phenomenon, a visual image and, at the same time, an elusive conceptual process that can never be fully visualized or grasped, that became the core of my visual exploration.

Mark your calendars! See you on October 3rd, from 14:30 PM to 20:00 PM on the Seine, near the Monnaie de Paris. I’ll share the exact address closer to the date!

The project is implemented with the support of writer and bouquiniste Édouard Chalamet.

Foto by André Zucca, 1942.
#paris #art #olfactoryart #scentart #parfume taken in Monnaie de Paris by @art_olfactory

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a month ago

JNA 2026
I am taking part in the National Artists’ Days in France 2026!

On October 2nd, 3rd, and 4th, France is hosting its second National Artists’ Days (Journées Nationales des Artistes). This year, I am joining with a philosophical project about memory, books, life… and once again, it is partially site-specific!

The project presented, titled “Le pli” (The Fold), was originally part of nOnsense, a body of work I’ve been developing since 2021, which began specifically during my residency at ACME in London, supported by the MOСT Foundation.

nOnsense is a long-term project I return to periodically. It feels endlessly unfinished, constantly expanding with new objects, details, layers, meanings, and folds. Unsurprising, perhaps, a project about hope (and/or the lack thereof) is probably best left open-ended, so as not to lose hope entirely.

Over time, the large olfactory furniture installations, sculptures, and video works have been joined by linocuts. Hand-carved and hand-printed, these prints stem from my reading of Gilles Deleuze’s The Fold: Leibniz and the Baroque. It is a notoriously complex text; I’ve read it multiple times, each time understanding something new or understanding nothing at all. My attempts to visualize this dense philosophical text as graphic blocks were paused for a while, which is why the series currently consists of just 7 limited edition prints. Each approach is different, created at distinct moments during various visual and artistic searches. Some linocuts “hide” objects beneath folds, others serve as homages or copies of Renaissance paintings, while some simply attempt to capture the essence of a fold.

In the photo: an important moment of my work captured by @maugliparis , where I am literally smelling books! Perhaps if I actually read them instead, I’d know and understand a whole lot more...)
I’ll share more details about the project in my next post.
#olfactoryart #art #scentart #sitespecificart #art taken in Paris, France by @art_olfactory

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a month ago

New Season, new Energy!

Vacation mode is officially over. During the intense heatwave in the Paris region, I had to hide all my bottles, essences, and perfume materials in refrigerators. Since my olfactory studio is in the attic, the usual 40°C outside (which feels like the new normal for us now, though still far from pleasant) turns the space into a greenhouse, driving the temperature under the roof much higher. Finally, the heat has broken, and I’ve brought all my fragrance ingredients back to their rightful places after almost a 2 month break from formulation.

I missed it so much, but at the same time, I feel thoroughly rested. Some of my old scents have revealed themselves in totally new ways, and the pause brought a few lovely surprises to my existing formulas. My work as a visual artist and author didn’t vanish either, I kept sketching, gathering research, writing for upcoming projects, and catching up on emails.

So here I am, back in the studio, and it’s absolute chaos in here. I need to get everything in order, but I honestly don’t even know where to start! The new season is officially open, ushered in by a storm sweeping through the Île-de-France region.
#parfume #olfactory #olfactoryart #art #artstudio
Foto by @maugliparis taken in Paris, France by @art_olfactory

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a month ago

A fine line between seduction and danger, drawn with herbs, heat, and intention!

As I continue researching historical recipes, royal poisoning scandals, and ancient folk remedies, I’m constantly amazed by how ordinary domestic ingredients once carried immense political and emotional power.

Each saucepan in Charming Potion holds a reconstructed scent narrative. Some invite you in with warm, comforting herbal aromas, while others carry the sharp, mysterious edge of a secret recipe.

It raises a provocative question:
Would you dare to smell a recreated historical poison? Or even better... would you taste a centuries-old “enchanted” French sauce if it was served to you today? 👁️👁️👇
Share your thoughts in the comments!
#InteractiveArt #ScentStory #OlfactoryExperience #olfactoryart #art taken in Madrid, Spain by @art_olfactory

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2 months ago

Charming Potion first came to life during my residency at @59rivoli in Paris (2022–2023), and it continues to evolve in my practice today.

During my time at the residency, the project caught the attention of Japanese television! A news crew from Nippon TV #newsevery visited my studio together with actress Hikari Mitsushima @hikarimitsushima for project @lovelouvre2023 to film a special segment on my olfactory works. It was an incredible moment to share this blend of French culinary heritage, historical crime, and scent art with an international audience.

It was fascinating to observe during filming how, through the lens of Japanese cultural memory, our “local mustard” was immediately perceived as wasabi. I deeply cherish these cross-cultural moments of sensory translation, as they highlight how deeply our scent perception is rooted in geography, culture, and memory.
#newsevery #LOVELOUVRE2023
#59Rivoli #ArtistResidency taken in Tokyo, Japan by @art_olfactory

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2 months ago

Sauces, Potions, and Poisons!

What lies at the intersection of haute cuisine, alchemy, and danger?

Charming Potion is my ongoing olfactory project exploring France’s deeply rooted relationship with sauces and its hidden parallel history of potions, poisons, and love charms.

Moving to France, I became fascinated by how the mastery of herbs, reductions, and emulsions in the kitchen historically overlapped with the apothecary. The kitchen was often a place of both care and manipulation. Strong garlic sauces were used to mask toxic botanicals, while subtle herbal mixtures were brewed to enchant lovers or quietly eliminate rivals.

For this project, I collect vintage French saucepans from flea markets, turning each vessel into a speculative archive. Inside, I reconstruct historical narratives through botanical compositions, leaving you to wonder which «sauce» is benign, and which hints at a darker recipe.…

Charming Potion (2022–present)
Vintage French saucepans, mixed materials, custom olfactory compositions.
#olfactoryart #olfactoryjourney #olfactoryartist #scent #scentart taken in London, United Kingdom by @art_olfactory

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2 months ago