Bio
After studying graphic design and narrative drawing, I discovered glass through a collaboration with a glassblower. I then trained in working with molten material and spent several years in Paris as a flame-work glassblower, collaborating with artists and designers.
I continued my training at CERFAV, where I developed a more personal approach to the medium. My path then led me to Norway, where I lived and worked for eight years.
Now based in Brittany, I have established my studio in a former school building, where I pursue a practice combining artistic research, experimentation, and creation.
My engagement with glass originates in the observation of molten material and the corporeal language it demands. The process itself operates as a site of inquiry — a form of practice that unfolds as much through making as through perception.
Glass, in its apparent malleability, reveals a fundamental resistance: its flexibility is inseparable from the complexity of its execution. It is a material that imposes both technical precision and emotional intensity.
This inherent tension can act as a point of friction, where the pursuit of mastery risks overtaking the generative potential of the process. It is precisely within this unstable balance that the work is situated.
My practice unfolds as a sculptural investigation in which molten glass is approached as a field of forces, defined by the interplay between control and instability.
Through the act of blowing, I enter into a dialogic relationship with a material whose properties
— fluidity, heat, gravity — actively condition and disrupt the formation of form.
Rather than resolving these constraints, the work engages with them.
The process becomes a site of negotiation, where gesture, breath, and fire operate as co-constitutive elements, displacing authorship toward a shared agency between maker and material.
CV
