Six years ago, I started working on a new line using different types of grogged stoneware, creating my own recipes, mixing the clay with certain natural fibers to increase its resistance and bring to life medium-sized pieces that defy gravity, balance, and counterweights.

I try to bend and twist the monotony of the straight line where balance and tension can give birth to a symbolic emotional charge. It is through this play that I develop abstract pieces with a smooth, polished finish to highlight the edges and precisely define the overall line. I use clay for its clear connection with the earth and our roots, the closed line with its constant turns and changes as a representation of life, enamel marking stages and crystallizing specific moments. It is with this vocabulary that I seek in each piece an object of contemplation and meditation that can be manipulated and serve as support for an introspective moment.

It was in the suburbs of Paris, where I grew up, that I began to question modern architecture at a very young age, which was reduced to the simplest geometric shape, the cube. Faced with architectural poverty or a lack of imagination, I began to question these six walls that imprison us, the conscious and unconscious cells that confine us? What kind of nature can they have: social, family, or are they simply a reflection of our own fears? Are we capable of identifying these forms of imprisonment or will some remain invisible to ourselves?

It is from this reflection that I developed a sculptural path, finding through this line with four defined sides the possibility of making the monotony of the straight line disappear, inviting also to identify which of the cages limits our freedom the most: the external one or the one we have built to try to define ourselves?