An early calling, a recent commitment...

After a 25-year career in journalism and documentary filmmaking, I decided to pursue my childhood dream of becoming a ceramist.

In 2016, I trained at the Art et Technique Céramique school in Paris with Grégoire Scalabre.

In 2017, I created my studio, Bobol Ceramics, and developed lines of functional and decorative porcelain pieces.

In 2019, my work caught the attention of Chinese master ceramist Bai Ming, who invited me for a six-week residency in the spring at the Shangyu Celadon Modern International Ceramic Center. There, I developed two installations that are still on display today: a series of porcelain and celadon enamel vases and L'Envol, a ceramic and light wall installation consisting of 50 birds made from cut bowls.

In 2022, I developed a new installation in an old church in Provence, a mobile made up of 50 porcelain birds whose shadows danced on the walls.

In 2024, I worked with the Michelin starred chef Louis Gachet on table decorations, including an oil cruet inspired by the shape of my single-flower vases.

Since the summer of 2025, through several residencies at Villa Puebla in Barcelonnette, I have resumed my research on bowls. In this exhibition, you will find pieces from this work, as well as other older pieces that I love for their delicacy and that I sometimes set aside for an exhibition.

“I get much more excited in a hardware store than in a jewelry store. Everyday objects move me. I lovetheir patina, their wear and tear... a certain kind of beauty emanates from the way they are used, from the intimate relationship that develops between the object and its owner.

I chose to work with porcelain because it is delicate, sometimes translucent, without being as fragile as it appears. It requires you to take your time, to be attentive, to move quickly but calmly and precisely. It has a memory and deforms during firing. It is capricious and refuses to be perfect. And that's a good thing! Perfection keeps us at a distance, while imperfection suggests vulnerability and calls for a form of empathy. That's what attracts us.

I have two particular favorites: bowls and single-flower vases.
I love bowls because every morning, you hold them in your hand, feel them warm and steaming before bringing them to your mouth... I seek the ideal shape, the compromise, the right curve for the eye, the finesse for the lip, the right foot and the right weight for comfort of use.

My single-flower vases are unique pieces that I improvise on my potter's wheel. I like to be surprised by the often unexpected shapes they take. They are a bit like characters that impose themselves, sometimes slender, sometimes plump. I dress them in glazes of my own composition, or leave them bare because porcelain is so beautiful, so white, that it often needs nothing more than a simple, raw, refined shape.

Finally, I like to find harmony in the arrangement of my pieces, arranging them by affinity, finding the right intervals, the right distance... defining a composition in the manner of a still life. Perhaps this is how I seek my own balance in the chaos of the world.”