Silver, copper, lapis lazuli, brick, serpentinite, glass, shellac, pigment
Inspired by a photograph of the city of Manchester, I created these 3 pieces. I tried to capture the materiality of the city as well as its colour palette, by using various stones and man made materials, and attaching them to silver mesh, evoking scaffolding.
A cage and a nest share the same anatomy: an empty space delimited by a material boundary, capable of protecting just as much as of enclosing. MATRICES explores the point where these two concepts intertwine and merge. It’s in a disused prison that this show takes place. There, I question the way the conditions of a space influence how we feel about it. A closed nest can soon start to feel like a trap, and an open cage, or one made of delicate materials, can also become a refuge. Inspired by the architecture of the living in all its forms, this work explores that zone of tension where protective space can become constraint. Silver, copper, steel, or even aluminium meet organic matter such as shellac resin or textile fibres. This heterogeneous mix creates a whole that references both the language of the nest and that of the cage. It’s a study of the empathy of matter : aggressive structures attempting to protect fragile interiors, fragile structures attempting to protect aggressive interiors. The cage and the nest are no longer seen as opposites but as equals, part of the same whole. The body becomes the territory, the oak inhabited by fauna. Each piece exists as an autonomous ecosystem resting upon the skin. The wearer becomes the guardian of these spaces, the host who allows the object to exist.
8 works below
MATRICES
silver, rusty washers (Lowestoft UK), amber (Poland)
A delicate piece of hand-carved amber, protected inside a cage of rusty elements, protected in a silver cage.
MATRICES
silver, patina, steel
In a family, one which is meant to protect and nurture, you can sometimes feel unable to exist fully as you are. This can lead to existing in hiding and feeling trapped. This series of three pendants addresses this topic of concealment, protection and entrapment. By hiding something inside the pendant to protect it, the wearer simultaneously traps it. While the piece is being worn, what is inside cannot be freed and remains a secret to the outside world.
MATRICES
silver, steel, shellac, pigment.
These pieces were created by tightly wrapping expanded mesh around twigs, then I put them in a fire, thus removing the content of the cages.
MATRICES
oak gall, silver, steel.
This necklace is made out of oak galls found in Brittany, France. Oak galls are wasp nests, which are created from a reaction the oak tree has to the sting of a specific species of wasp. The larvae develops inside the ball, and drills a hole to leave the nest once it is fully mature.
MATRICES
silver, oak wood, barbed wire, rust pigment, steel, shellac
This pendant contains a bit of rusty barbed wire I found in Poland, on front of an abandoned german torpedo station from WW2. The idea is that the pendant is protecting an element that was originally made for protection, which is now too rusty and fragile to fulfil its original function.
MATRICES
silver, oak wood, barbed wire, charcoal pigment, steel, magnets, shellac
The base is embedded with many small magnets which makes the piece magnetic, so one can attach anything they find, inside the cavity.
MATRICES
copper, enamel, silver, steel, calamus
Streamlined to its simplest shape, a nest and a cage have very similar structures, and can become interchangeable. The function of the shape depending entirely on how the object is positioned.
MATRICES
silver and oak branch with galls
Must be detached to be worn.
Amber, silver, steel.
This work is about trying to find comfort instead of solutions. I also think some people would benefit from being soothed by it, thus preventing them from harming others.
Silver, amber, steel. Hand-fabricated.
Inspired by the Rubin vase illusion by Danish psychologist Edgar Rubin, the gaps in the piece are the main focus. Two people looking at each others. Their connection represented by a row of moving amber beads. We’ve never had so many ways to connect with others than nowadays, yet there is a growing feeling of loneliness within society, is it all an illusion ?
silver 925, brass, cupronickel, and aluminum-bronze. Hand-fabricated.
I wanted to give form to the proverb "Money doesn't grow on trees" by imagining its opposite. A light and poetic approach to an extremely complex subject: our relationship with money. Coins replace acorns, creating a surreal vision where money seems to ripen on the branch, prompting us to ask ourselves… What would change if money grew on trees? Would we treat trees differently if money grew on them?
Silver, brick, sand, plaster, pine wood, niello, steel.
This collection explores a shared anatomy found in nature, the body, and architecture: a core, a structure, a surface. Over time, these layers shift, fade, or break away. Each piece embraces transformation. Celebrating time not as loss, but as a process. What disappears leaves a trace. What’s hidden becomes visible. The material carries the meaning. Photo credits: Pauline Humbert // Models: Malaika Kanda Bile and Jean-Philippe Kunz.
Just a matter of time
A series of bracelets cut from English brick of the Victorian era. This work, titled Let Go, speaks of a silent, slow, and at times unexpected loss. Time erodes our surroundings and the things we love; this piece honors the void left in its wake. It stands as an invitation to question permanence in a world of planned obsolescence.
Just a matter of time
Like an artifact waiting to be discovered, the Excalibur ring invites the wearer to complete the work. Hidden inside a stone-like block of plaster, the ring emerges only through action the ritual of discovery. Time and movement shape the piece, leaving a trace of the process anchored as a memory within both the mind and the object.
Just a matter of time
A spinning ring that evolves with use. Left still, it remains intact. In motion, it wears down, polishes, and scratches, gradually revealing the hidden material beneath. This piece embodies the passage of time through gesture; every movement leaves a trace, and the inevitable wear of the object reminds us that nothing remains still in the face of passing time.
Just a matter of time
To access the pieces, the wearer must break their cocoon. These pieces speak of instantaneous transformation. They represent the moment when something tips over and can no longer go back. Like an hourglass cracking, the pieces cross into an irreversible transformation; the fracture reveals, and the object is transformed.
Just a matter of time
A signet ring built in layers. The piece wears down to the bone, until only its internal structure remains. Fragile and marked by time. Every trace tells a story. The raw layers disappear, revealing the brilliance of the structure. The wear is sublimated, becoming a revelation of beauty. It is a signet ring that does not merely accompany the wearer and get passed down, but evolves with the wearer and leaves a trace.
Plaster, gauze, leather, 18k yellow gold.
This Ex-Voto is about healing, it isn’t a request towards a higher power, but a request that will eventually be granted by time. Eventually, the bandaid will fall, symbolising healing and revealing the healed wound beneath. Unlike a brooch, which adorns clothing, this piece is designed to be worn directly on the skin, establishing an intimate connection with the wearer. The main material of the piece, plaster, is used in art as much as it is used in healing. In the process of making the imprint of my scar, I had to cover my wound again, replicating the application of a bandage to the wounded area. When the plaster falls, it will reveal a thin and almost invisible line of gold, gilding the healed wound, as a symbol of the beauty and value of healing. Literal symbol of healing, it is also an analogy to everything that needs healing, from our skins to our souls. For me, a bandaid also represents naivety, through the idea that when you get bruised as a child, a bandaid is applied. Leather is used as it is quite literally skin, covering and protecting the broken skin during the process of healing. The discreet cord in skin coloured leather is there solely to be able to wear the ex voto skin to skin, blending in with the wearer’s skin.
fabrics, steel, cotton thread, wool.
A series of brooches made next to and with my mother, taking away the pressure of needing to sell, to make refined or detailed work, and only enjoyed moments together.
This collection was created with the idea of treating 3D printed media as a limited resource, similar to natural stones and minerals. I was excited by the possibility of using digital tools to create a new material which can then be worked with in a traditional way. Each piece in the collection is hand-carved from this newly conceived substance, created in virtual reality and then printed using 3D technology. The material mimics organic structures, with variations in texture and density throughout the mass. The series includes a ring, a pair of earrings and a brooch. Each piece is initially created from the same block, then cast in silver or aluminium. The aluminium offers lightness, and these pieces are finished with a black satin powder coating that highlights the unusual structure of the material.
Silver, diamond. Hand-fabricated.
Unconditional love, free from conditions, embraces our diverse selves effortlessly. In my representation, elements pivot, slide, and turn freely. One side features a coveted diamond with a rich history, while the other side embodies simplicity and rawness. The 'nothing' side, as captivating as the diamond, deserves equal love. In unconditional love, giving abundantly or sparingly holds equal meaning, emphasising the beauty of acceptance.
Silver, copper, brass, sodalities, heliolites. Hand-fabricated.
An exploration of the underwater world, imagining a palace deep down in the ocean.
Alloy of silver, gold and copper.
Sterling silver, coconut fibre and seed. Lost wax.
Silver, sapphire, garnet. Lost-wax and hammering.
Each ring is cast spiky or loopy and then "combed" with a hammer to give it its final look.
Silver, golden thread. Hand-fabricated.
A ring inspired by cross-stitch, an ode to the good times I spend creating with my mother.
Brass. Hand-fabricated.
Inspired by the spores of Ganoderma mushrooms.
facemasks.
What should we do with all the facemasks used during the pandemic ? What's after ?
Animal vertebrae cast in silver, 18k gold.
Brass, flint, silver, gold, bronze, pearl.
My first pieces made at Nadja Lokschin's workshop during my empirical apprenticeship with her. I used these pieces to get into art school. The triangular volume is inspired by geometries from Leonardo Da Vinci.
