I work with clay, primarily stoneware. I sculpt from the mass, using my fingers and fists, captivated by this space lovingly situated between abstract and figurative worlds, by their reciprocal porosity, a space where the truth of not-knowing and all the verbs of silence would undoubtedly reside…
After an initial partial drying, my pieces are cut into several sections to be hollowed out. The pieces are then reassembled and reattached with clay.
The final drying phase passed (several weeks), at least two firings are required (first at 980°C to solidify the clay, then at 1240/1320°C for the glazes). These firings take place in my Phoenix-type wood-fired kiln, each lasting between 18 and 26 hours, during which time I continuously feed the kiln with wood until the desired temperature is reached.
The majority of my pieces benefit from several firings of glazes, which I make myself. Their combinations reveal, like glazes, plays of transparency and contrast where the unspeakable of time seems to be narrated, successively fused with others through the prism of fire, and are inscribed within a long and slow journey where “failures” often transmute into a window towards new paths of experimentation, ultimately ceding mastery of the play of flames to the beauty of the unknown.
Beyond the flames, the quality of a silence,
which thickens, becomes consistency…
My hands work to elaborate what I do not know.
They don’t know where they are going but they are heading there nonetheless…
I try not to object to it.
…The immensity of the sky. The earth rested during the winter, exposed to frost and rain… I collect it. Cracked surface, dark and light ochres, speckled with the residue of decomposing leaves, crevices at the bottom from which one could read the future… The gaze slides, caught: falls are often the beginning of great adventures.
Moved by this tension of the unknown on which everything now rests, I carry this clay treasure to the workshop. A line drawn by time, shallow, calls for and thrust in the hand. The movement is launched… Upon contact, the energy of the clay invites you to travel, the scales of dimensions suddenly merge. A fold becomes a mount, a rise becomes a nose. What barely takes shape becomes disfigured… Light nourishes its shadows.
Fruit of this exhalation, of this mineral communion, of its beyonds in the crucible which germinate, slowly, all the possibilities, my work moves in interior transformation, the blood which animates me is of the same iron that these clays, millions, billions of years depend on us and – time no longer exists…
LANDMARKS
Born March 21, 1978, in Nantes.
1996 / 2016: Experiments and travels in Audiovisual, Theater and Cinema.
2012 / 2014: Graduated from Le Fresnoy, National Studio of Contemporary Arts (Tourcoing, France).
2017: Meeting with clay.
2018: First modelings and sculptures, self-taught, in a troglodyte cellar in Dieulefit (Drôme).
2019 / 2023: Construction of a high temperature wood kiln (1000-1300°C), development of enamels and firing of the pieces.
May 2-21, 2023: First personal exhibition, by the European Center of Conques (Aveyron).
January 2024: End of « Cycle 1 » … Start of « Cycle 2 ».
2024 / 2026: « Cycle 2 ».
May 25, 2026: Senate Prize medal, festival L’Art à la Perrière (France)
I work with clay, primarily stoneware. I sculpt from the mass, using my fingers and fists, captivated by this space lovingly situated between abstract and figurative worlds, by their reciprocal porosity, a space where the truth of not-knowing and all the verbs of silence would undoubtedly reside…
After an initial partial drying, my pieces are cut into several sections to be hollowed out. The pieces are then reassembled and reattached with clay.
The final drying phase passed (several weeks), at least two firings are required (first at 980°C to solidify the clay, then at 1240/1320°C for the glazes). These firings take place in my Phoenix-type wood-fired kiln, each lasting between 18 and 26 hours, during which time I continuously feed the kiln with wood until the desired temperature is reached.
The majority of my pieces benefit from several firings of glazes, which I make myself. Their combinations reveal, like glazes, plays of transparency and contrast where the unspeakable of time seems to be narrated, successively fused with others through the prism of fire, and are inscribed within a long and slow journey where “failures” often transmute into a window towards new paths of experimentation, ultimately ceding mastery of the play of flames to the beauty of the unknown.
Beyond the flames, the quality of a silence,
which thickens, becomes consistency…
My hands work to elaborate what I do not know.
They don’t know where they are going but they are heading there nonetheless…
I try not to object to it.
…The immensity of the sky. The earth rested during the winter, exposed to frost and rain… I collect it. Cracked surface, dark and light ochres, speckled with the residue of decomposing leaves, crevices at the bottom from which one could read the future… The gaze slides, caught: falls are often the beginning of great adventures.
Moved by this tension of the unknown on which everything now rests, I carry this clay treasure to the workshop. A line drawn by time, shallow, calls for and thrust in the hand. The movement is launched… Upon contact, the energy of the clay invites you to travel, the scales of dimensions suddenly merge. A fold becomes a mount, a rise becomes a nose. What barely takes shape becomes disfigured… Light nourishes its shadows.
Fruit of this exhalation, of this mineral communion, of its beyonds in the crucible which germinate, slowly, all the possibilities, my work moves in interior transformation, the blood which animates me is of the same iron that these clays, millions, billions of years depend on us and – time no longer exists…
LANDMARKS
Born March 21, 1978, in Nantes.
1996 / 2016: Experiments and travels in Audiovisual, Theater and Cinema.
2012 / 2014: Graduated from Le Fresnoy, National Studio of Contemporary Arts (Tourcoing, France).
2017: Meeting with clay.
2018: First modelings and sculptures, self-taught, in a troglodyte cellar in Dieulefit (Drôme).
2019 / 2023: Construction of a high temperature wood kiln (1000-1300°C), development of enamels and firing of the pieces.
May 2-21, 2023: First personal exhibition, by the European Center of Conques (Aveyron).
January 2024: End of « Cycle 1 » … Start of « Cycle 2 ».
2024 / 2026: « Cycle 2 ».
May 25, 2026: Senate Prize medal, festival L’Art à la Perrière (France)
I work with clay, primarily stoneware. I sculpt from the mass, using my fingers and fists, captivated by this space lovingly situated between abstract and figurative worlds, by their reciprocal porosity, a space where the truth of not-knowing and all the verbs of silence would undoubtedly reside…
After an initial partial drying, my pieces are cut into several sections to be hollowed out. The pieces are then reassembled and reattached with clay.
The final drying phase passed (several weeks), at least two firings are required (first at 980°C to solidify the clay, then at 1240/1320°C for the glazes). These firings take place in my Phoenix-type wood-fired kiln, each lasting between 18 and 26 hours, during which time I continuously feed the kiln with wood until the desired temperature is reached.
The majority of my pieces benefit from several firings of glazes, which I make myself. Their combinations reveal, like glazes, plays of transparency and contrast where the unspeakable of time seems to be narrated, successively fused with others through the prism of fire, and are inscribed within a long and slow journey where “failures” often transmute into a window towards new paths of experimentation, ultimately ceding mastery of the play of flames to the beauty of the unknown.
Beyond the flames, the quality of a silence,
which thickens, becomes consistency…
My hands work to elaborate what I do not know.
They don’t know where they are going but they are heading there nonetheless…
I try not to object to it.
…The immensity of the sky. The earth rested during the winter, exposed to frost and rain… I collect it. Cracked surface, dark and light ochres, speckled with the residue of decomposing leaves, crevices at the bottom from which one could read the future… The gaze slides, caught: falls are often the beginning of great adventures.
Moved by this tension of the unknown on which everything now rests, I carry this clay treasure to the workshop. A line drawn by time, shallow, calls for and thrust in the hand. The movement is launched… Upon contact, the energy of the clay invites you to travel, the scales of dimensions suddenly merge. A fold becomes a mount, a rise becomes a nose. What barely takes shape becomes disfigured… Light nourishes its shadows.
Fruit of this exhalation, of this mineral communion, of its beyonds in the crucible which germinate, slowly, all the possibilities, my work moves in interior transformation, the blood which animates me is of the same iron that these clays, millions, billions of years depend on us and – time no longer exists…
LANDMARKS
Born March 21, 1978, in Nantes.
1996 / 2016: Experiments and travels in Audiovisual, Theater and Cinema.
2012 / 2014: Graduated from Le Fresnoy, National Studio of Contemporary Arts (Tourcoing, France).
2017: Meeting with clay.
2018: First modelings and sculptures, self-taught, in a troglodyte cellar in Dieulefit (Drôme).
2019 / 2023: Construction of a high temperature wood kiln (1000-1300°C), development of enamels and firing of the pieces.
May 2-21, 2023: First personal exhibition, by the European Center of Conques (Aveyron).
January 2024: End of « Cycle 1 » … Start of « Cycle 2 ».
2024 / 2026: « Cycle 2 ».
May 25, 2026: Senate Prize medal, festival L’Art à la Perrière (France)