Emilie Arnoux is a painter. Her large-format oil paintings, mixing POP, beach culture and surf art, capture their contagious positive energy and multiple hypnotic colours.

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Emilie grew up on the beach and built up a universe of her own early on, mixing her passion for water sports, her happy beach life, her fascination for America in the golden age of the 1950s and 1960s and poster art from the same period. The vintage covers of the Saturday Evening Post, Gil Elvgreen's pin-up girls and Norman Rockwell's illustrations fuelled her future style.

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Already at the age of 10, she began to collect old prints of advertisements and drawing took up all her free time, during the week as well as on weekends or holidays. At 13, she painted her first oil canvas. At the age of 16, she took evening classes at the Beaux-Arts then, the following year, she began studying graphic arts and architecture with the idea of moving towards scenography or illustration.

As soon as she finished her studies, she returned to live by the sea and decided definitively that painting would be her life. ​Her style was noticed and she was quickly offered a solo exhibition, but she had only painted four pictures and had to create the entire exhibition! In 2012, she was presented as the nautical painter of the year by the Salon Nautique de Paris. From then on, her original works began to be exported all over the world: United States, Europe, Northern Europe, Cathars, South America, Africa...

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Emilie's paintings are an invitation to travel, childhood nostalgia and the Californian dream's wonder. They take you on board like a road movie: close your eyes, and you will soon feel the warm wind caressing your eyelids...

She exhibits today in New York and in major contemporary art "Shows" across the United States and Europe. Her work is constantly enriched by her travels on the roads of the American West, from California to Key West via Hawaii.

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"I grew up at the beach, and even as a little girl I enjoyed those moments when lying on my beach towel, drowsiness overtaking me, I would open my eyes halfway to scenes saturated with light in the middle. It was always for me, and still is, secondary magic, like a snapshot inside me that fixes those intimate images of living happiness, moments of grace and freedom, and then transform them."