I started to throw pots on the wheel at the age of 11. I spent all my weekends at La Boutique d'Argile, an old chicken barn converted into a workshop. The place was poetic, all in wood with large checkered windows. At the age of 19, I was already earning a living as a ceramist. But not experienced enough to realize how much I loved this medium, I continued my studies in visual arts, ready to starve to become an artist.
I survived. I realized many projects, some grandiose, others more humble. But for me, touching the clay had been like a verdict: I would love it forever. I did portrait, sculpture, painting, a little illustration, founded my company specialized in trompe l'oeil, directed large mural projects, but I always heard the call of this magical matter, which, as long as it has not undergone the test of fire, can eternally return to the state of mud. I felt a certain satisfaction in making clay models to cast my bronze sculptures, but the molding, wax casting, retouching and all the rest to get to the final result was too laborious and technical. I dreamed of making unique pieces.
This choice involves sacrifices that require a good deal of humility because you can lose everything at each step. It is already a challenge to realize a simple bowl, so when it comes to a piece made of several parts, the risk of deformation and cracks is enormous, not to mention the many possible firing problems and the coloring whose result is known only after the very last firing. It's all chemical interactions. Sometimes it takes years of disappointment to get to some constancy.
For twelve years, I stayed regularly in Catalonia where I had a mini country house with a workshop. This is where I took the time to return to my first love. I started with raku, at the beautiful art school of Tortosa: Escola d'Art i Disseny.
Now in Quebec, I am continuing to explore this art that combines form and color. I play with porcelain, the most capricious and the most difficult. On the white surface, the painter paints or creates color effects. On the wheel, the sculptor plays curves, then she adds shaped parts and sees the birth of harmonious organic forms. It is very sensual. I like to think that the person who chooses his glass or bowl will have as much pleasure as I do in touching it, discovering it and rediscovering it from all angles with each use.