My work seeks to reveal the quiet beauty of materials and the living world. Inspired by the forms, traces and phenomena of the natural world, I am drawn to what rarely reveals itself at first glance: a grain, a texture, a crack or an imperfection.

Reveal Rather Than Add

I seek less to transform the material than to reveal what it already contains. A grain becomes a line, a crack a landscape, an irregularity a pattern. Decoration then acts as a revealer: highlighting, following and bringing to light what might otherwise remain unseen.

Material and the Living World

My work is nourished by observing the natural world: plant structures, mineral formations, fungi, pollen, strata and traces left by time all become starting points.

I do not seek to reproduce these forms, but to observe their rhythms, lines and phenomena and translate them into my pieces. This attention to the living world is part of a broader intention: to slow down the gaze and rediscover a sense of wonder in the ordinary details around us.

Damascene Inlay: Drawing with Material

Part of my research is inspired by damascene inlay, an ancient decorative technique based on inlaying gold or silver wires into metal. I transpose this principle onto wood and veneer, inlaying gold- or silver-plated brass wires directly into the grain.

The wire follows the natural movements of the wood, tracing a line, emphasizing a tension or punctuating a rhythm already present. It does not seek to impose a pattern, but to reveal the one already carried within the material.

This desire to reveal what is already there also extends to my work with tin. Through impressions and casting, I capture the reliefs of wood, stone and other natural surfaces. Striations, irregularities and imperfections then become patterns, transforming ordinary details into landscapes of material.

Gold, silver and tin thus act as revealers. They highlight a texture, follow a movement or bring a detail to light, without seeking to obscure the material’s inherent character.