Like the Madeleine de Proust, I invite you to find on my hand-painted porcelains old imagery, encyclopedic engravings and botanical plates. A whole world of curiosities. I draw on porcelain with a calligraphy pen holder. As a painter, porcelain is for me an expression medium like a blank canvas or a sheet of paper. I prefer the porcelain of Limoges, refined material from the French heritage. My colours are prepared with metallic oxides according to traditional techniques. I invite porcelain in public space or private interiors by proposing wall installations of plates to tell stories on the wall and created decorative objects in the spirit of the cabinet of curiosity. Inalterable decoration, machine washable
I buy the porcelain on which I paint, it is mostly made in Limoges, Limoges is the first French porcelain center.
I have two types of clientele, the general public who will be more interested in the table arts and professionals.
Prescribers in the world of decoration as interior architects but also the hotel and restaurant sector for which I developed the concept of "stories on the wall", wall installations of illustrated plates. For all the customer types, I only make unique pieces.
I’ve been painting since I was a teenager, oil painting. I first had a career in the large business sector in management trades. I had the opportunity, 20 years ago, to learn to a master, the painting on porcelain.It became a passion and then I started my business. Since I became an art craftsman, I was approved by the union of art craftsmen in France, Ateliers d'Art de France.
In addition to learning porcelain painting from a master, I took art history classes at the Louvre school in Paris.
I use the traditional techniques of porcelain painting as the large factories of Sèvres used it from the beginning. Powder colours, similar to other techniques, are mixed with oily gasoline and diluted with turpentine. Brushes are used to make a decoration by brushstrokes or "set-up".
But my specialty is to do all my drawings with calligraphy penholder. I also have several types of pen depending on the size I want for my stroke.
Another method is the "putoisage" which consists in crushing the color with the help of a beveled brush, called "ferret", giving it a movement from top to bottom and perpendicular to the support. This process makes it possible to blend the brushstrokes and remove the thicknesses of the paint that could jump during cooking. The size of the ferret must be adapted to the surface worked. The bigger it is, the more homogeneous the look, but you will not be able to achieve fine details. Hence the need to have several sizes of skunk When the surface is large, a bottom for example, we replace the ferret with a foam.
No it is very traditional
Perseverance and professionalism