My credo is to go straight to the point. I was greatly inspired by the simplicity that we found in the manufacturers, lines, and design of the 50s and 60s. This period is the post-war era. Everything had to be reinvented: the materials, the methods of manufacturing, the way of thinking about space… A great moment of renewal and of innovation, very different from what was done before. For example, we started to design chairs that were lighter, smaller, and that could be moved around easily. Appliances have arrived. It was the period of functionalism: we tried to produce in large quantities while maintaining high production quality. I am also inspired by currents of decorative art from the end of the 19th century and the first half of the 20th Century.

In the morning, before starting the intense day of the workshop, I take the time to answer the emails. Then I get my team together, and we take stock of the day ahead. Then comes the production stage: shaping the clay, drying, sanding, enameling, then assembly, electricity, and before packing in boxes to ship the orders. All this is interspersed with appointments with customers, craftsmen of suppliers.

In my former work, I was fascinated by ceramics, by this ancestral gesture which combines four elements: water, earth, fire, and air, we can create anything we want, and for thousands of years. I also chose this medium because I started alone and without a production budget. A little naively, I said to myself that ceramics would make it possible to produce volumes quickly and to concretize my ideas. But I discovered that, in reality, ceramic is a complex and capricious material, which requires a lot of logic and attention. The slightest error in drying can crack or cause the collapse of a room. Oven accidents are common. It takes years of practice. I would even say that it takes a lifetime to become a ceramist.