Beyond the flames, the quality of a silence, which thickens, becomes consistency… The hand imprints an unknown language on the clay.
My hands work to elaborate what I do not know. They do not know where they go but they go there anyway…
I try not to oppose it.
To be inhabited by instants, to seal them in a form.
… The immensity of the sky. The clay rested in winter, exposed to frost and rain… I collect it. Cracked surface, of dark and light ochres, speckled with residues of decomposing leaves, crevices at the bottom of which one could read the future… The gaze slips there, caught up: the falls are often the beginnings of great adventures.
Moved by this tension of the unknown on which everything now rests, I bring this clayey treasure to the workshop. A line drawn by time, shallow, invites you to stick your hand in it. The movement is launched… In contact with it, the energy of the clay invites you to travel, the scales of dimensions suddenly merge. A fold becomes a mount, a mount becomes a nose. What hardly takes shape is disfigured… The light nourishes its shadows.
And this light points the way… Fruit of this exhalation, of this mineral communion, of its beyonds in the crucible of which germinate, slowly, all the possibilities, my work moves in inner transformation, the blood which animates me is of the same iron as these clays, millions, billions of years connect us and – time no longer exists…
Beyond the flames, the quality of a silence, which thickens, becomes consistency… The hand imprints an unknown language on the clay.
My hands work to elaborate what I do not know. They do not know where they go but they go there anyway…
I try not to oppose it.
… The immensity of the sky. The clay rested in winter, exposed to frost and rain… I collect it. Cracked surface, of dark and light ochres, speckled with residues of decomposing leaves, crevices at the bottom of which one could read the future… The gaze slips there, caught up: the falls are often the beginnings of great adventures.
Moved by this tension of the unknown on which everything now rests, I bring this clayey treasure to the workshop. A line drawn by time, shallow, invites you to stick your hand in it. The movement is launched… In contact with it, the energy of the clay invites you to travel, the scales of dimensions suddenly merge. A fold becomes a mount, a mount becomes a nose. What hardly takes shape is disfigured… The light nourishes its shadows.
And this light points the way… Fruit of this exhalation, of this mineral communion, of its beyonds in the crucible of which germinate, slowly, all the possibilities, my work moves in inner transformation, the blood which animates me is of the same iron as these clays, millions, billions of years connect us and – time no longer exists…
Wood firings
At this time (2023), the works presented here have for the most part been modeled in 2018, in a troglodyte cellar, in Dieulefit (Drôme, France), and are the result of an initial field of research and modeling experiments. clay, enamelling and high temperature wood firing (1000-1300°C), self-taught.
For various reasons and after several adventures/moves, they were only able to see their completion in 2020/2022, through, finally, the construction of a first wood kiln.
Beyond the failures which turn out to be, in the end, only the support of a certain way, patience feeds the inner fire by overlapping the seasons… This first cycle of creations will have benefited from 21 wood firings, each firing will have lasted between 16 and 36 hours in a row, listening to the flames, day and night, for three years.
This results in a certain conjugation of several space-time… While harnessed to the surprise of the result one will persist in going through these « trials », the Fire, sublimating the ordinary or reducing it to significant fragments, will give to the determined neophyte the last word of a sentence which seems – happy real in the dream! – never to have an end…
Wood firings
At this time (2023), the works presented here have for the most part been modeled in 2018, in a troglodyte cellar, in Dieulefit (Drôme, France), and are the result of an initial field of research and modeling experiments. clay, enamelling and high temperature wood firing (1000-1300°C), self-taught.
For various reasons and after several adventures/moves, they were only able to see their completion in 2020/2022, through, finally, the construction of a first wood kiln.
Beyond the failures which turn out to be, in the end, only the support of a certain way, patience feeds the inner fire by overlapping the seasons… This first cycle of creations will have benefited from 21 wood firings, each firing will have lasted between 16 and 36 hours in a row, listening to the flames, day and night, for three years.
This results in a certain conjugation of several space-time… While harnessed to the surprise of the result one will persist in going through these « trials », the Fire, sublimating the ordinary or reducing it to significant fragments, will give to the determined neophyte the last word of a sentence which seems – happy real in the dream! – never to have an end…
Beyond the flames, the quality of a silence, which thickens, becomes consistency… The hand imprints an unknown language on the clay.
My hands work to elaborate what I do not know. They do not know where they go but they go there anyway…
I try not to oppose it.
To be inhabited by instants, to seal them in a form.
Modeling Time.
Writing Fire.
Smoking // Rain prints on clay.
… The immensity of the sky. The clay rested in winter, exposed to frost and rain… I collect it. Cracked surface, of dark and light ochres, speckled with residues of decomposing leaves, crevices at the bottom of which one could read the future… The gaze slips there, caught up: the falls are often the beginnings of great adventures.
Moved by this tension of the unknown on which everything now rests, I bring this clayey treasure to the workshop. A line drawn by time, shallow, invites you to stick your hand in it. The movement is launched… In contact with it, the energy of the clay invites you to travel, the scales of dimensions suddenly merge. A fold becomes a mount, a mount becomes a nose. What hardly takes shape is disfigured… The light nourishes its shadows.
And this light points the way… Fruit of this exhalation, of this mineral communion, of its beyonds in the crucible of which germinate, slowly, all the possibilities, my work moves in inner transformation, the blood which animates me is of the same iron as these clays, millions, billions of years connect us and – time no longer exists…
Wood firings
At this time (2023), the works presented here have for the most part been modeled in 2018, in a troglodyte cellar, in Dieulefit (Drôme, France), and are the result of an initial field of research and modeling experiments. clay, enamelling and high temperature wood firing (1000-1300°C), self-taught.
For various reasons and after several adventures/moves, they were only able to see their completion in 2020/2022, through, finally, the construction of a first wood kiln.
Beyond the failures which turn out to be, in the end, only the support of a certain way, patience feeds the inner fire by overlapping the seasons… This first cycle of creations will have benefited from 21 wood firings, each firing will have lasted between 16 and 36 hours in a row, listening to the flames, day and night, for three years.
This results in a certain conjugation of several space-time… While harnessed to the surprise of the result one will persist in going through these « trials », the Fire, sublimating the ordinary or reducing it to significant fragments, will give to the determined neophyte the last word of a sentence which seems – happy real in the dream! – never to have an end…