I was born in the south of France, and raised in a small city called Nîmes.

I remember a book about Le Dounier Rousseau that I had as a child. I spent entire afternoons contemplating each painting and I hoped very much that by closing my eyes and opening them again I would be transported into the paintings.

I did a lot of very varied jobs, some financing artistic projects, others because I didn’t really have a choice. When I left my studies I was a building painter and a studio model at the same time, which required a certain organization. I have also been a jewelry seller, translator,  hostess, and waitress with a relative level of enthusiasm. 

I subsequently joined the Patrick Seguin Gallery where I had the chance to restore  Jean Prouvé furniture among others. Then I created an online magazine and a market place dedicated to young artists & designers (L’Observatoire Magazine). Then I joined the teaching team at Parsons School of Paris. On site, I had access to a whole bunch of  very attractive machines such as 3D printers and CNCs. So I started creating again  and this time my studio grew significantly. I left Parsons School last year to devote  myself full time to my creations. However, I still give a few courses in a small Parisian interior design school. 

I mainly work with wood because I like its lively appearance. It’s unpredictable, natural,  fragile and solid at the same time. Carpentry tools are equally fascinating. When I worked at  Parsons School, I developed 3D printing carafes. At that time I tried to convince myself that it wasn’t so bad if it wasn’t environmentally responsible. And then I realized that I wasn’t comfortable with it. That to feel fully legitimate to create, I had to use only natural materials.  It seems to me that today we can no longer produce objects without considering their environmental impacts and without making radical decisions about the materials we use. So I learned ceramics to replace 3D printing. Clay and wood now interact together in my work and I hope to bring in other natural materials very soon.

In the Arles collection, the chair and the armchair have the particularity of only being  solid and structured once the last cleat is in place. I like this process because it is only at the very end, at the last step, that the object takes shape. 

There is also a paradox in the manufacture of mirrors. The final object appears light,  precious, delicate to us while the manufacturing process itself is the opposite of that.  You have to break a mirror plate, cut the wood in all directions, hollow it out to create a recess, and embed the plate. It’s very physical and requires a lot of deconstruction steps.

I still have a long way to go but from my personal experience, the most important thing is to experiment without necessarily trying to create a final object and by considering failures as stages in reflection. Manual work allows a great understanding of materials and unlocks lots of boxes in the mind. In my opinion, it is very important to allow yourself to be surprised by this and to accept that you cannot control everything. It is in the unpredictable that the most creativity is found.

I absolutely couldn’t place it in a movement. What I can say is that my work is part of a very contemporary way of thinking, which drives most young designers. It is the desire to move from one discipline to another, to break down the boundaries between art, design, and craftsmanship and to imagine domestic objects which could be sculptures, and sculptures which could have functions, through processes that could be both artisanal and technological. It seems to me that the designer movement to which I belong aspires to this, to a desire to break down all barriers and break away from the conventional.

I had the chance to discover Charlotte Perriand’s work in depth when I was restoring furniture at the Galerie Patrick Seguin. She inspires me through her journey as a woman in a  male environment but also for her work on the organic, in particular her drawings and her photographs.

I find the young artistic scene very inspiring in both Art and Design. I am fascinated by the work of Destroyer Builders, Joris Poggioli, Katharina Trudzinski, Hot Wire Extensions, and Simone Holliger.

The free form