Reclaiming the significance of decoration
Everyday Ornament emphasize the fact that that decoration remains important to highlight the singularity of an object, our way of life and our history. Memory is an incredible tool to understand our contemporary aesthetics, revealing political, cultural and social motives when we peel back the historic layers of these art movements. Less is more has itself become a conceit of the upper classes.
My purpose is to strive to uncover, reveal and re-introduce the ornament, using the practice of detail making, of adding more as a way to pick and trick the discourses built by high social classes. There are two dimensions to the installation presented. First is an appreciation of historic decoration through a range of ceramic objects like stools and vases. Ceramics are like history: made from the Earth, baked to become strong and fragile to sudden shocks. The history shown here is that of ornamentation in Western culture, and how abundance and scarcity come to represent shifting values through different eras. The second dimension is the materialization of my drawings, which is the predominant process in my practice. I used automatic drawing to reinterpret my connection with ornament.
I’m convinced that decor needs to exist. As a designer, illustrator and artist, ornament is a way to give a special value to objects.
A Small Encyclopedia of Layers classifies by alphabetical order a range of items that all have in common a peeling system. Here references are not limited. In fact, they are a way to cross layers of the past, to create bridges between different universes in order to let you to compose your own recipe.
My goal is to intrigue you as much as I was seduced by the knowledge I discovered myself. The encyclopedia is a game and a peeling tool: I say ‘peel’ to imply the action (physical or symbolic) of removing something from a layer piece by piece.
I use this form to invite you to dive into my favourite themes and references. I welcome you into a world filled with strata, deadlocks and surprises. Everything is classified, stacked, assimilated. Everything has to be peeled to be revealed.
Participation to the contest for Monnaie de Paris prize in collaboration with Riwan Coeffic
@internautes is a medal in honor of everyone who composes the internet community. Every anonymous and undefined entity who nourishes and embodies the Cyberculture.
It’s spinning corner refers to the fresh 30th Internet’s birthday. Each symbole represents a strong moment and defines the Web’s birth to these days. To the first computer mouse to the last meme which made us laugh…
This project hasn’t been selected.
A Scene at the Seine is a short mo vie ins pi red by my own drawing pro cess. It re veals how I get deep into the nar ra tives that I’m drawing. Through a fan ta sist il lus tra tion of the Seine ri ver, I tra vel through times, high ligh ting the im por tance of the his to ri cal layers in the ci ty of Rouen and in my mind.
This is a drinking fountain, inspired by my research work on the history of tap water.
I propose to revisit important and attractive aspects of decorative fountains, that were built thanks to classicism, and the golden age of French fountains in the XVII century. Referring to an ancient style is a way to compare it to the modernism and efficiency that characterises our contemporary public spaces and fountains. Take time to look at the grandiose architecture of railway stations, as well as fountains, which give pleasure to the community…
With Matilde Patuelli and Matilde Losi
This is a collaborative project that aims for a reflexion about the ISS and borders in space. It’s divided into a scenography space, a publication and a series of short movies.
ISS confines the actual liveable dimension for human beings in the outer space, which is roughly as big as a football field. Yes, very big in case it was your apartment, but think about spending from 3 to 6 months up there – all your routine happening within the same perimeter.
This installation gives an overview of the stakes that implies a life in space, as well as the political impacts that it hides.
This is a series of tapestries and samples that I designed from my own drawings. This was one of my first opportunities to become more familiar with a loom and other weaving techniques.
This is a surprise vase. Under the multiple layers of aluminium foil, everyone thinks there is something inside. We have to peel it and wrinkle it, only to finally discover that it is empty. Branding and packaging are extremely well built: each story that a company gives to a product are selling techniques.
I’m making a fake branding system which promises a guilty pleasure, a cheating surprise… I’m playing with the kinder surprise egg and the Greek vase. They both are multi-layered objects that you can peel. Through fake antic narratives that appear throughout the aluminium sheets, I want to push the consumer to peel it to the end.
With Riwan Coëffic
“I love water, in twenty, thirty years, it will be gone” Jean‑Claude Van Damme.
These are vases, aquariums, in twenty, thirty years, we will not make any of those anymore.
As designers, it is difficult to admit that we make beautiful things for pleasure. Here, we chose to comvbine tiles and water because they fit well together.
Why do we have this tendency to accumulate objects which show how strong and powerful we are? Cars, watches, weapons, even jackhammers, what is it about these appliances? In the 1960’s, Moulinex “made the woman free”: could kitchen appliances be a new ironic symbol of strength?
I’m working on the idea of power raised by the hyper functionalism of our surrounding objects. Turning them into nonsense is a way to show how we need for approval with our belongings. These absurd monsters are the new symbols of the human power. How many functions, what size could we enhance to access to the higher point of virility? Stronger Bigger Faster invites you to try a range of new product for a powerful experience in the kitchen…
Every week I’ve made a newspaper and I’ve kept this practice for three months. That was my only rule to play around, and connect drawings from my childhood to current topics.
Hot water bottle and slipper: experiments with quilt and padding.
This is a stool that I’ve made.
Steel, velvet, rope.
With Rosalie Blanc
A collection of handmade soaps for the Saint‑Etienne Design Biennial, sold at the souvenir shop.
2020 – Master of Art in Fine Arts and Design, Contextual Department, Design Academy of Eindhoven
2018 – DNA option Design, ESAD de Saint-Etienne
2016 – BTS Design de Produit, École Boulle
2014 – Baccalauréat STD2A, École Boulle
2021 – graphics and community management – l'École d'Art – Montreuil
2020 – residency at EKWC (European Ceramic Work Center) – Oisterwijk
2017 – internship at Klemens Schillinger Studio – Vienna
2015 – internship at Unqui Designer – Paris
2022 – Collectible Fair – Brussels
2021 – Moving Stasis – HET (Het Nieue Institut) – Rotterdam
2020 – Dutch Design Week online
2020 – Live in Living Space – DDW Contextual Master online exhibition
2020 – EKWC text case – Tilburg
2019 – RR11 – Biennale de Saint-Etienne – Off
2019 – Villette Makerz – 100% festival – Off – Paris
2017 – Teaser – Biennale de Saint-Etienne – Off
2021 – Elle Decoration Nederlands – House of Fun – march 2021
2021 – Frame – a new model for wellbeing – march/april 2021
2020 – Étapes magasine – special graduated issue
2020 – Dutch Design Week online
2020 – Graduation Book