ATELIER

Other essential choices involved in his work :

First of all, the potter's wheel. While very much associated with old-fashioned techniques and styles, it can itself be modified and modernised to serve the artist in the creation of totally new forms and effects.

« I chose the wheel because of the energy it transmits to the pieces, because I like to think of my work as an art of movement and imbalance, the wheel allows me to increase the tension between the chosen and the accidental. I turn in alternating directions, in the Japanese way, that is clock-wise, and in the opposite. By doing so, the grace and emotion expressed by a piece aren’t due to its perfection, but to the surprise, irregularity and whimsical nature of the piece. It is this that gives it its force and vitality. »

Next, the firing. Following the teachings of Jean Girel, he constructed his first gas kiln in 2001. Here as well, by allowing for a finer control of the internal firing atmosphere, the gas kiln permits a greater range of glazing possibilities. It is an element of both vitality and complexity, the flames at once provoking harmony and accident.

And finally, the choice of form. Despite its abstract character, his work always refers back to vessels. But it is not their functionality that is important, but that they communicate with the viewer, retaining the gaze, the hand, the mind, inviting contemplation rediscovering rituals.