Celadon ceramic tiles
18 x 11 cm
The Appeal series examines the possibilities of material control. Pushing the limits of clay’s plasticity to its maximum, I play with the elements expelled by the extruder, this «idea developing machine», by pushing the shape itself and adding more and more oxygen. As I breathe more air in, the primary volumes, in this instance hollow tubes, fill up with air. And just before they explode, I stop and look at the inflated shape which seems comfortable again.
The propelled oxygen gives the piece the breathing space it needed. In essence, the swollen form is transient, destined to burst or wither. I seek to capture this very state of uncertainty. The imperfection of the work as a whole betrays the effort applied to the material. Like a sad object trying to make a good impression, before collapsing. Appeal retains the feeling of always being on the verge of implosion.
Born in Paris and graduated from the Sorbonne Paris IV in Art History. I completed a sculpture course specialising in earthenware modelling at Les Ateliers de Paris. I regularly train during masterclass, especially with Shozo Michikawa.
I work with the extruder, which, by means of pressure, decides the aspect of each elements of the piece that I then assemble. Since I discovered this tool, it has became the technical impulse of each of my pieces. This «idea developing machine» also represents what interests me in ceramics today. Part of my research is aimed at questioning the properties and limits of clay. The extruder allows me to give my ceramics an impulse and to give outlets and possibilities to my ceramics.
In appearance soft and irresistible, the shape of my pieces might lead one to believe that it would make for a cosy nest to curl up in, but in reality, as one gets closer, it is hard, fragile and icy, or perhaps the very opposite.