Porcelaines de Limoges / Limoges’ Porcelain

Perpétuelle remise en question du prestige de l’objet, mes porcelaines de Limoges se placent en cobayes pour explorer les possibles implications et applications de cet art du feu. L’objet induit le mouvement du corps. Il empêche et guide à la fois les sens qui, sous la contrainte, amènent la dégustation dans un champs chorégraphique délicat. Les assiettes se transforment en surfaces éprouvées. Le plat devient bosse, et les couverts s’effacent pour laisser place aux doigts. La finesse du détail trompe l’oeil. Les cloches, dômes culinaires massifs, écrasent les codes figés de la gastronomie. Ces pièces imposantes et encombrantes désacralisent la nourriture en focalisant l’attention sur les contaminations et les déformations qu’elles endossent.

All these projects draw on the way I’ve learnt and discovered skills in making Limoges porcelain. Some are personal, others come from workshops with a specific subject, but they represent my position as a designer experimenting with novel ceramic forms. Arabesques and curves in my pieces, for example, are used to constrain or guide body movements, modulating the activation of different senses. In other pieces, smooth surfaces are replaced with hollows or raised areas for fingers and hands that suggest positions for holding. I employ surface decoration sometimes to trick the eye or convey a story. Colour, the least predictable of decorative strategies, is used to unify a series of pieces, but I complete this by including a single unexpected item of different colour that adds a subtle uniqueness to the whole. Other experiments have been more to do with form, as in the pieces based on the dish or platter covers associated with gastronomy and haute cuisine. Here I have over-exaggerated their size to make them clumsy, thus turning attention away from the food they are supposed to reveal.