MP I decided that ceramics would be my medium while studying at the Ensad in Limoges. Digital tools, as well as my experience with engraving and etching, naturally found their way into my work with clay. I began by applying oxides in pencil directly onto stoneware, before my drawings gained thickness through the addition of coils, gradually turning into bas-reliefs. My compositions, designed using paper patterns or custom rulers I invent to reproduce, on a large scale, a language of arabesques and budding symmetries, incorporate signs and motifs linked to my personal history. The scale of the pieces has also gradually grown towards large formats.

In my work, glazing is just as important as modeling. The glaze colors I choose are often in a metallic range, which allows me to reinforce my intentions in the modeling, especially when I want to evoke ironwork, door frames or gates. I also use water-green, blue or turquoise glazes, which I select for their mineral quality. These colours also strengthen my intentions when I depict elements of 19th-century jewellery and accessories, where blue enamels and sapphires interact.

MP The jury prize has brought real recognition to my work. I am very grateful to the jury for this award, and also for the encounters I made during ceramic brussels 2026. Since then, I have received more opportunities and greater international visibility, which allow me to create more ambitious pieces and to research new forms and glazes in new, enriching contexts. It is a great support for my work and my practice.

MP The exhibition will continue my research into bas-relief. The works will be created from the sampling of images and drawings. I will make a large part of the pieces during a three-month residency at the CCCA in Yixing in September, a residency awarded to me by Jacques Kaufmann at the 2026 edition. I plan to develop new glaze shades and create a series of bas-reliefs inspired by late 19th-century designs for jewellery and accessories, for the exhibition at ceramic brussels 2027.