Since 1995, her artworks participated in more than 270 events in forty countries (galleries, museums, art centers, biennials, festivals). She collaborates as a jury member in festivals (ex FNCNM in Montreal - October 2016); she chaired the jury of the WCA 5th International Video Shorts in Los Angeles; she gaves lectures on video art (Singapore, Lebanon, Philippines, Cyprus, Canada…). Her last lectures were given in May 2024 in US at the Fitchburg Museum and for the WCA (Women Caucus for the Arts) on the topic: "Sisterhood in Art, as consequences and as strategies".Véronique Sapin is also co-founder and coordinator of the international collective FemLink-Art since 2005 in which women 143 artists from 63 countries have agreed to participate. She has initiated important partnerships with institutions such as UNESCO for the training of artists from the African continent. She is represented by the Sitka Gallery in US.

Director Statement
Dance was an integral part of Véronique Sapin's life for fifteen years of intensive practice and guided her early professional projects before evolving into a questioning of movement, its trace, and its memory, throughout all her artistic productions. Because movement can generate the unknown, it serves as a vocabulary for the artist to speak of our lives in balance—a central theme of her work—between certainty and doubt, strength and vulnerability.

Video naturally emerged as the ideal medium for apprehending, capturing, circumscribing, and participating in movement. Véronique Sapin has been working with this medium since 1994 and creates her own soundtracks. The manipulation of the image has become for her an act of choreographing forms and their lines, which she places on a "point of equilibrium" where movement is suspended between a "before" and an "after." She speaks of her work as an art of "Kairos": the art of the opportune moment, the art of seizing the instant. Kairos qualifies a decisive interval between a "before" that is too soon and an "after" that is too late. It thus engages the fate of the work. For Véronique Sapin, video, like the fixed image and ink (with which she subsequently creates generative works), share the same capacity to capture movement in the process of being accomplished.

Véronique Sapin translates her aesthetic choice through a work on contrast and the erasure of parts of the image. By equalizing the points of interest in the image, the artist allows each element to detach itself and find the point of equilibrium between falling and taking flight.

The use of black and white prevents movement from reaching our retina in a diminished way. Thanks to black and white, movement can be distinguished through a flow of information. It is not reduced to a variable importance in which it is not essential. Black and white extract movement and form from the chatter and noise. This allows them to appear in a "case" of silence.

When the artist uses color, it is for its metaphorical force.