1. Could you share a bit about your background and what led you to start an art practice?

I grew up in a creative family where weekends were spent painting, playing music, making sculptures, and visiting exhibitions. At the age of eight, we moved from Paris to London, where we lived for seven years. I was captivated by the city’s culture, art, and architecture. I loved how the architecture shaped the city’s experiences—like the view of the Tate Modern from the Millennium Bridge or the hidden charm of Brick Lane Market. These early encounters sparked my interest in both architecture and art.

After high school, I chose to pursue art and design. I started with a year of MANAA (Mise à Niveau en Arts Appliqués) at Lycée Auguste Renoir, followed by a course in interior architecture and design at École Boulle in Paris. The school, renowned for its craftsmanship (cabinet making, marquetry, tapestry, jewelry, object design, and space design), greatly inspired me and encouraged me to develop my practice. During my free time, I explored various creative outlets—drawing, ceramics, music, building objects, and attending construction workshops.

Afterward, I completed a second multidisciplinary master’s program* that included a residency at the Mobilier National, where I worked on a group project with designers from various fields. The project allowed me to explore raw clay and wax, which led me to realize that this hands-on practice was essential for me.

*Master 2 Design : Création, Projet, Transdisciplinarité delivered by the CNAM - Conservatoire National des Arts et Métiers

2. What themes does your work explore?

In light of the ecological, political, and social challenges we face, I reflect on my role as a designer. How can we contribute to the world of tomorrow? What legacy do we leave for future generations?

Our society of overconsumption has devalued objects, making them disposable and easily replaceable. However, with the growing abundance of waste and the urgent environmental crisis, our relationship with objects is shifting.

My work explores the concept of cycles, examining the trajectory of objects and spaces. I use bio-sourced, reclaimed, and recyclable materials to create new designs and find ecological alternatives to traditional manufactured products. My aim is to design objects and spaces that endure, either in their original form or through evolution over time, while respecting both the environment and the earth.

3. Where do you find inspiration for your work?

It may sound simple, but I draw a great deal of inspiration from nature. I feel a deep sense of discomfort about the harm humans have inflicted on the earth. Given the critical state we find ourselves in, I believe that a viable future can only be built by placing nature back at the heart of our organization and guiding principles. We must let the ecosystem and its needs direct us, rather than shaping it to fit our current way of life in order to ensure better coexistence.

What fascinates me about nature and plants is their unpredictability. While everything is perfectly balanced and purposeful, the results can still be surprising and unique. I seek out imperfections, awkwardness, and signs of life in plants and landscapes. I enjoy moving away from strict geometrical forms in favor of capturing movement, change, and evolution. I strive to inject this imperfection and fluidity into everyday utilitarian objects, as a reminder of nature and life itself.

4. Can you walk us through your creative process and how you bring an idea to life?

My background in architecture and design strongly influences how I approach a project. I always begin with a clear intention: “What message do I want to convey?” Then, I establish the constraints or “non-negotiables” that will shape my work, such as using bio-sourced and reclaimed materials, repairing or reworking existing objects, following low-tech processes, and creating sustainable pieces.

I start by selecting the type of raw clay I’ll work with—local, imported, chamotte, smooth clay—and determining the kind of results I hope to achieve. Sometimes, I sketch or gather references (images, photos, objects, texts) that resonate with the concept I’m exploring. From there, I leave room for improvisation and allow the clay to guide me. The freedom this material offers is one of the aspects I love most about it; I’m always open to being surprised. While some results can be disappointing, the beauty of clay lies in its ability to be remodeled and adjusted endlessly throughout the creative process.

5. What is the project you’re most proud of to date?

During my time in the transdisciplinary master’s program at Mobilier National, I co-founded the PALEO collective with two other designers. For a year, we explored the lifecycle of objects through three materials: raw clay, wax, and digital matter.

The unique feature of these three materials is their infinite possibilities. Raw clay can be reworked and transformed when exposed to water. Wax can be melted repeatedly and reshaped, while digital matter can constantly evolve and become more complex.

In this collaborative project, my primary focus was on clay. I worked on a vase made from raw, unfired, and unglazed clay, conceived as an adaptable object that could change over time. The idea was for someone to reshape the vase whenever they wanted a new form or function—simply by dipping it in water and reworking the clay. This approach led us to question our personal relationships with craftsmanship and DIY culture.

One challenge with this approach was that unfired clay objects can’t be used with water. In the second phase of the project, we combined raw clay with wax. Wax resists water but not heat, while raw clay resists heat but not water. By using wax as a protective glaze, we could preserve the clay’s form while making it waterproof. This experimentation revealed numerous possibilities for using wax to protect and transform clay objects, while still allowing them to be remolded.

6. Do you see yourself staying in Paris long-term, or are there other cities that inspire you to work there?

Paris offers countless opportunities for design, art, and architecture, given the city’s rich architectural history and its pressing ecological needs. However, living in Paris can sometimes feel overwhelming and disconnects me from nature and the slower pace of life, which makes me question my future here. I honestly don’t know where life will take me and I prefer to let opportunities guide me as they come.

7. What would you like to accomplish in the next few years?

In the coming years, I hope to further develop my work with raw clay, both artistically and within the design and architecture fields, where raw clay is gradually regaining its significance. As a member of the Collectif Francilien de la Terre Crue, we are actively promoting the use of raw clay in all its forms. This sustainable, ecological material offers excellent hygrometric properties, helps regulate temperatures in spaces, and improves indoor air quality. My goal is to continue expanding projects that explore raw clay, whether in artistic installations, design objects, or architectural spaces.

8. If there's one thing you hope people take away from your work, what would it be?

What I hope people take away from my work is a desire to evolve in their practices and consumption habits, becoming more conscious of the ecological impact of their choices. I want to inspire a shift towards more mindful, sustainable ways of living, where we reconnect with the materials around us and understand their value in the context of the environment. Above all, I want people to appreciate the beauty that can be found in ecological practices, how sustainability can lead to truly meaningful, aesthetically rich experiences that are in harmony with nature.