Modelling — shaping the clay

Starting with 10 kg blocks of raw clay, I begin modelling — the most creative stage. I love rounded, soft shapes that make you want to touch them. My aim is to capture what defines an animal rather than reproduce it faithfully: its strength, gentleness or serenity… I always seek to convey a feeling and share it with the person looking at the sculpture.

Each piece calls for different techniques, depending on its size, shape and balance. I have to anticipate how the clay will behave, support it and reinforce certain areas. I also keep a close eye on it throughout the drying process: even the smallest crack can cause a piece to break during firing.

Hollowing out — lightening the sculpture

Once the piece has been modelled, I hollow it out. The timing is crucial: the clay must be dry enough to hold its shape, yet still soft enough to work. This delicate stage involves removing clay from inside the sculpture and ensuring that air can circulate. Despite every precaution, a piece can still break during firing.

Drying — giving the clay time

Before sanding, I leave the sculpture to dry and harden. The time needed varies depending on the size of the piece and the conditions in the studio. This waiting period is essential before I can work on the finishing details, bearing in mind that unfired clay remains fragile.

Sanding — refining the shapes and details

Once the clay is dry enough, I use different grades of sandpaper and tools to refine the shapes and details. The sculpture takes on its smooth surface and final form. This is a delicate stage, as unfired clay remains fragile. After firing, adjustments will be much more difficult.

The first firing — bisque

Once the sculpture is completely dry, after around three weeks, it is ready for its first firing. The clay changes colour and becomes hard: this is known as bisque. Depending on the clay used, firing takes place at around 1,000°C, with a very slow rise in temperature and several holding stages.

Glazing — preparing the colour

Once the sculpture has cooled, I apply the glaze. I look for a glaze that flows during firing and generously coats the sculpture. Applying it means anticipating how it will spread over the curves and into the hollows. Experience and many trials help me refine this work, but every firing still holds an element of surprise.

The second firing — revealing colour and shine

The sculpture returns to the kiln for a second firing. This is when the glaze melts, revealing its colour and shine. The firing schedules and holding stages are the result of many trials. Achieving the desired finish is always deeply satisfying. I then leave the piece to cool to room temperature before taking it out of the kiln.

Finishing — the final touches

Once the sculpture has cooled, I grind away any unwanted glaze drips underneath it. I then attach felt to the base to protect furniture. Finally, I measure the piece and prepare its identification sheet. As I work without moulds, every sculpture is unique and different from the others.

Creating a sculpture means working through all these stages, with the risk of breakage or an unexpected glaze result right up to the end. Each piece bears the marks of this work and these gestures. This is also what gives it its individuality and value.

A visit to the studio