Gallery

This theme can probably be traced back to my own search, the search for my identity as a woman. What is it that makes a woman be seen as a woman? Increasingly, womanhood is expressed in my work by flowing lines and contours.

Unbearable Lightness of Being

(1996 - 2025)

This theme can probably be traced back to my own search, the search for my identity as a woman. What is it that makes a woman be seen as a woman? Increasingly, womanhood is expressed in my work by flowing lines and contours.
Home and garden sculptures inspired by amimals

Carnaval des animaux

(2016 - 2025)

Home and garden sculptures inspired by amimals
Sculptures leaving room for interpretation

In between

(2018 - 2025)

Sculptures leaving room for interpretation
Handbuilt and wheelthrown vazes.

Vases

(2017 - 2025)

Handbuilt and wheelthrown vazes.
Sculptures inspired by seashells eroded by the sea. Fragility versus resilience.

Fragility

(2011 - 2022)

Sculptures inspired by seashells eroded by the sea. Fragility versus resilience.
Some of my sculptures were inspired in part by Algeria, the land where I lived for nine years as a child.

Invitation au voyage

(1999 - 2025)

Some of my sculptures were inspired in part by Algeria, the land where I lived for nine years as a child.
Handbuilt or whellthrown

Boxes and urns

(2009 - 2025)

Handbuilt or whellthrown
Reminiscences as a recall to mind of experience or impression. An inner sanctum.

Reminiscence

(2021 - 2025)

Reminiscences as a recall to mind of experience or impression. An inner sanctum.
work made by connecting cuttings of clay

Connection

(2010 - 2022)

work made by connecting cuttings of clay
I consider every single object in this series as totally self-sufficient. No two pieces are the same and each is equally important. This in a world which, sadly, seems to become ever more uniform and where ‘being different’ is often regarded with suspicion rather than as an inspiration.

Ode to diversity

(2006 - 2015)

I consider every single object in this series as totally self-sufficient. No two pieces are the same and each is equally important. This in a world which, sadly, seems to become ever more uniform and where ‘being different’ is often regarded with suspicion rather than as an inspiration.
Someone once asked me if I had been inspired by prehistoric sculptures, such as those of Filitosa on Corsica. No – but I well understand the association and think it fitting, and have therefore called these objects my ‘megaliths’ ever since. Completely the opposite of my patchwork vases, these works express massiveness and solidity.

Megaliths

(1998 - 2020)

Someone once asked me if I had been inspired by prehistoric sculptures, such as those of Filitosa on Corsica. No – but I well understand the association and think it fitting, and have therefore called these objects my ‘megaliths’ ever since. Completely the opposite of my patchwork vases, these works express massiveness and solidity.
Sometime I see myself like these vases: bits and pieces pasted together. These fragments and traces hark back to times gone by, invoking universal nostalgia. Irregular edges, tears and holes come together in a representation of vulnerability, this in total opposition to my megaliths.

Inner landscapes

(2001 - 2025)

Sometime I see myself like these vases: bits and pieces pasted together. These fragments and traces hark back to times gone by, invoking universal nostalgia. Irregular edges, tears and holes come together in a representation of vulnerability, this in total opposition to my megaliths.
Most of these organic forms are inspired by shells or bones, just a few centimetres in size, which I found on a beach in Senegal. I aim to produce asymmetrical yet balanced forms.

Pot sculptures

(2005 - 2019)

Most of these organic forms are inspired by shells or bones, just a few centimetres in size, which I found on a beach in Senegal. I aim to produce asymmetrical yet balanced forms.
Each statue is unique. I strive for a natural look with a matte or satin finish. I experiment with own glazes that flow into each other.

Pendants

(2010 - 2021)

Each statue is unique. I strive for a natural look with a matte or satin finish. I experiment with own glazes that flow into each other.
Handbuilt and wheelthrown bowls.

Bowls

(2017 - 2022)

Handbuilt and wheelthrown bowls.