My sculptures begin with the clay itself. Constructing, modeling and assembling. Whether utilitarian, figurative, architectural or entirely abstract, I create from the desire to manipulate, model and construct. I assemble, accumulate, and try to defy the gravity of any mass raised by stacking. I am interested in the transmutation of ordinary objects, memories and traces or in the symbolic value of these objects. I start working on my sculptures in an improvised manner influenced by the natural laws of gravity, or diligently for empathetic reasons regarding political and social concerns, or as a research project that honors current issues and personal preoccupations. I am fascinated by the firings, the fusion and glazing specific to ceramics. The idea of “hand-made” has lately become a central part of my work; seen in Flower Power, Pareidolia & Animalité/Humanité. The profusion of images in my work serve as a personal testimony.

As far as the material is concerned, I am fascinated by the clays complexity, it’s transformation from solid to liquid, the contrast it has between clean and dirty, rough and glossy, soft and hard. The freedom in form and expression, the glaze painting and the multiple firings intrigues me constantly. The primal clay, our earth, distinguishes our territory, nationality, cultural heritage and ancestry, all issues of upmost importance today. Although the clay has little value in the hierarchy of artistic materials, it is the precursor. I appreciate the "nostalgic return to the mud, return to the earth, the return to nature". 

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Statement

My sculptures begin with the clay itself. Constructing, modeling and assembling. Whether utilitarian, figurative, architectural or entirely abstract, I create from the desire to manipulate, model and construct. I assemble, accumulate, and try to defy the gravity of any mass raised by stacking. I am interested in the transmutation of ordinary objects, memories and traces or in the symbolic value of these objects. I start working on my sculptures in an improvised manner influenced by the natural laws of gravity, or diligently for empathetic reasons regarding political and social concerns, or as a research project that honors current issues and personal preoccupations. I am fascinated by the firings, the fusion and glazing specific to ceramics. The idea of “hand-made” has lately become a central part of my work; seen in Flower Power, Pareidolia & Animalité/Humanité. The profusion of images in my work serve as a personal testimony.

As far as the material is concerned, I am fascinated by the clays complexity, it’s transformation from solid to liquid, the contrast it has between clean and dirty, rough and glossy, soft and hard. The freedom in form and expression, the glaze painting and the multiple firings intrigues me constantly. The primal clay, our earth, distinguishes our territory, nationality, cultural heritage and ancestry, all issues of upmost importance today. Although the clay has little value in the hierarchy of artistic materials, it is the precursor. I appreciate the "nostalgic return to the mud, return to the earth, the return to nature". 

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