Your life path seems singular. What made you capsize in the world of design and creation in general?
I did not really capsize in the world of creation. In fact, I have practiced only this universe. Very early, (14/15 years) I immersed myself in the texts of Malraux. Then I did the Ecole du Louvre. His approach corresponded to my desire to embrace the world of the arts both intellectually and visually. Leaving there, the world of museums that I knew a little, seemed to me quite cut off from the real world. And I wanted to try to be creative too. I did not know anything, so I opted for the ad. For a good ten years, I was a copywriter in big agencies. I made mostly movies, I was even awarded at Cannes. And then one day, I felt like independence. As I drew objects for me for quite some time, I told myself that I was going to try to live on them. There you go.
When we go through your catalog, we are struck by the diversity of your creations. What is the common denominator?
I like this question. The common denominator is boredom. Or rather the desire not to be bored. When it seems to me to have understood how one can make an object answering this or that problem, I change my specifications. Intellectually speaking, doing one more thing in the same way is not very stimulating for me. Yet this is justified in a possible quest for perfection. It can also be very fun: yesterday I made a pie quetsches, today I'm going to strawberry, it will change me.
I can do that with my plaster chandeliers, it's not an unpleasant exercise, but I'm running out of time. So I prefer to try to do something else, to understand how another type of object, material or aesthetics works.
Is it easy to produce in France? How do you see the future of local production?
I produce everything in France. It's very easy. I give you the recipe in 3 steps.
1 - you create something
2 - you find that it is too expensive to do in France
3 - you put it in the trash.
Then you go back to step 1.
More seriously, when you are in a country where manufacturing is usually expensive, and you have little means, you can not draw in absolute terms. You have to rely on a manufacturing technique and value it. If I started 20 years ago with my plaster band chandeliers, it was because it was the only technique I could afford. I did everything myself. The frames were mostly made from recycled materials in the street. And, although the technique is poor, the design of the object is that we accept to pay the price. It's called creating value. And creation is the best vector. I see the future of local production as an unexpected opportunity to be creative.
Do you have projects in sight?
What do you call projects? If it's new creations, I'm full, full hard drive and full trash. But I do not have enough time to make a series production. It's the other side of the coin when, like me, we self-publish with few means.
In my case, it would be much easier to produce single pieces, or in very limited series, because the economic problem is not the same. So, if I have a project, it would be to give me the means to diffuse this kind of objects. This would allow me to do more creative work.
What are your favorite places in Paris?
I love paris. Besides, I always rowed to keep my studio in Paris to enjoy the city. I started in a half-lodge of a caretaker in the "Sentier". Now I have a workshop in Belleville, it's less central. But it's bigger.
One of the places I prefer is probably the view we have when we are in the middle of the Pont Neuf. But all Paris galvanizes me: from the Opera to the Aligre market, open every day and one of the cheapest in Paris. As for restaurants, there are so many. We can mention Coretta at the foot of the garden Martin Luther King, decor and cuisine irreproachable in a very contemporary spirit. In the old style brewery: the Gourmet des Ternes, with a piece of beef to die for. But still it is necessary to show paw: it is undoubtedly the only restaurant of Paris which permanently displays a panel "complete", history of removing the "unfortunate".
And then the Triplets of Belleville, so to speak my canteen, with a plate often amazing for an unbeatable price.
On the cinema side, you have to go to Studio 28, 10 rue Tholozé in Montmartre, with Cocteau's huge wall lamps in the room. Incredible objects, halfway to Surrealism and Walt Disney. I stop because if we go to shops, museums, we will quickly end up with a guide.