🇫🇷 Lire en Français

If you can not find the answer you are looking for in the FAQ below, do not hesitate to reach out via the contact page.

Textile art is art that uses different materials and fibers to create aesthetically pleasing and artistic items. This form of art is among the most ancient, and has contributed to the creation of both functional and ornamental human-made objects for several hundred thousand years. While textile artists may incorporate three-dimensional elements in their work, textile art traditionally focuses on creating two-dimensional works like tapestries, quilts, or embroidered pieces. This is in fact my original training (see Bio).

On the other hand, a textile sculptor is more likely to create three-dimensional works that occupy physical space in a way that’s more similar to traditional sculpture. As I manipulate fibrous materials to create forms that may stand alone, be suspended in air, or wrap themselves around trees or pillars, I think my work is closer to sculpture. I am therefore, a textile sculptor.

Textile art stands apart from other artistic forms and movements in several unique ways. One key distinction is its emphasis on patterns and shapes, but perhaps what truly sets textile art apart is its ability to engage multiple senses. This multi-sensory nature may be rooted in the practical origins of textile arts. Initially developed for everyday use, textiles quickly evolved to serve as symbols of status, power, and beauty. Whether it’s the elaborate attire of royalty or the simplicity of a woven wall hanging, textile art is celebrated both for its technical mastery and aesthetic appeal.

This multi-faceted engagement is something I strive to achieve in my own creations. I often encourage viewers to interact with my sculptures on a sensory level. Not just to look, but also to touch and smell. Those who do are often surprised. I will say no more to keep some of the mystery alive!

I have started sculpting linen fibres in 1999. See Bio & CV.

In today’s world, textile artists have a wealth of choices when it comes to materials, textures, and colours. Throughout my career, I’ve experimented with a range of these, upcycling sailing ropes made from both natural and synthetic fibres, as well as wire and cloth. However, I’ve gravitated towards natural, sustainable materials.

My textile art is now crafted exclusively from two natural resources: raw fibres and string. These raw fibres are particularly significant because they add value to what would otherwise be a byproduct of the rope-making industry. For a long time, hemp was my go-to material for both fibres and string. But when I found myself unable to source it, I turned to linen as an alternative.

Adapting to this new material was a process; let’s say we have had to tame each other. Linen has since become my material of choice. Now, my art features only linen tow and linen string, dyed using a variety of techniques.

I was trained as a weaver, specializing in high-warp tapestry. Toward the end of my studies, I experimented with capturing the texture of tree bark through my tapestry work. However, the results often appeared too flat. Over time, my pursuit of texture evolved into a search for volume. One day, I took my work off the loom and boldly began pulling on the warp and weft threads. To my delight, the artwork took on a new, voluminous form.

I’ve retained the core principles and repetitive motions of traditional weaving in my art. Inspired by techniques found in the work of Magdalena Abakanowicz, my current approach focuses on monochromatic sculptures featuring added knots and “growth” elements. The technique I’ve developed involves wrapping linen tow with multiple layers of linen string. The tension created by the string, along with the multiple layers of wrapping, enables my sculptures to maintain their shape and stand on their own.

I employ a diverse range of dyeing methods to bring color into my sculptures. I utilize natural pigments, such as indigo but also synthetic dyes. Contrary to popular belief, synthetic dyes can sometimes be more eco-friendly to produce and extract than their natural counterparts, offering a sustainable option without compromising on color quality.

The choice to dye the finished sculptures or the individual skeins of thread or not dyeing at all varies depending on the project at hand.

Even in pieces that appear monochromatic at first glance, I often apply multiple layers of color to enhance their volume. This nuanced use of color is informed by my background in art history and picture composition, with a specialization in Renaissance painting, where the strategic application of color plays a crucial role in creating depth and dimension.

I am represented by the gallery Maison Parisienne.

You may have noticed that I often showcase my artwork in real-world settings on my website or social media platforms. I find it somewhat frustrating to see photos of my work against a plain backdrop. While there’s no definitive right or wrong way to display art, if you choose to incorporate my pieces into your home or collection, they’ll likely be surrounded by other objects, perhaps even plants or people. They’ll occupy a space and interact with the room’s dimensions. So go ahead and make your own experiments! Above all, I approach my sculptures with empathy, photographing them in a soft context because that’s how I best connect with my work. But I recently came to realise that I also like to see my sculptures in urban settings. Seeing them in the real world feels like a rewarding culmination of all my efforts. In doing so, I believe the sculptures take on a life of their own, as if they are posing to let me capture their portrait.

I’m delighted to hear that my work resonates with you! If you’re interested in purchasing a piece or organise an exhibition featuring my work, you have several options. You can reach out to me directly via Instagram, through the contact page on my website, or you can contact my representing gallery, Maison Parisienne. I also accept special commissions and offer worldwide shipping.

While I’m truly honoured by the interest in my work and studio, I generally do not accept visitors. However, there are rare occasions when I do open my studio to guests. The best way to get a glimpse into my process is by following me on social media, where I regularly share behind-the-scenes looks at my work. Have a look at this video. Thank you for your understanding.