Porcelain, this material considered immutable over time, is at the foundation of my research. Through representation of iconic signs and technological manipulations, my work evokes the cycle of transformation of this material and a perpetual slippage of meaning in the perception of natural phenomena.
I start with the premise that before its firing, clay is a soft material that can be perpetually transformed if it stays wet. The process of firing renders this material stable and permanent, thereby conserving its characteristics of stability and immutability for millennia. My explorations with this material have led me to develop different strategies for unsettling the inherent characteristics of ceramics and suggesting that this material could collapse again into a soft state and stay in perpetual transformation.
Combining diverse materials and technologies with porcelain allows me to multiply the possible relationships between elements occupying a given space. Indeed, my recent research concerns the “translation” of matter through such technological processes as digital printing, 3D digitalization, and 3D modelling and printing. This process of the technological translation of matter is applied to a multitude of everyday studio objects, such as boxes, packing materials and containers, which are reproduced in porcelain and then combined in various ways. It is through these juxtapositions—of familiar functional materials that form the landscape of the studio with other elements that have been translated by means of various technologies before being reproduced in porcelain—that my creations are realized. My sculptures and installations are thus proposals of potential movements of a material considered immutable through time, proposals that suggest a perpetual slippage of meaning in language and in the perception of natural phenomena.