Juliette Leperlier_Portrait 1_(c)Arthur Monfrais.jpg)
Juliette Leperlier_Studio 14_(c)Arthur Monfrais.jpg)
EDITED_Juliette Leperlier_Studio 21_(c)Arthur Monfrais copy.jpg)
Juliette Leperlier_Studio 1_(c)Arthur Monfrais.jpg)
Juliette Leperlier_Naïade XXI_(c)Arthur Monfrais.jpg)
Juliette Leperlier_Studio 16_(c)Arthur Monfrais.jpg)
The glass sculptures channelling the art of photography
- Juliette creates sculptures that explore the connection between photography and glass
- She works from the workshop that once belonged to her great-grandfather
- Showcasing her creations is an integral part of her creative process
Juliette Leperlier is a sculptor specialising in pâte de verre, an ancient technique passed down through generations in her family. Her great-grandfather was one of the pioneers who worked on developing this technique. "Even though I tried to distance myself from this artisanal heritage in my youth, I eventually found myself returning to it," Juliette says. After completing her studies at École Olivier de Serres, she continued her artistic education at the Sorbonne. It was there that she began to explore film photography and the interplay of light and transparent materials. This gradually led her back to her father's glass workshop. "Reconnecting with my family's craft came naturally to me, and I was able to preserve it while making it my own," she says. Driven by an aesthetic purpose, Juliette seeks to set light in motion through her sculptures.
Juliette Leperlier_Divagations IX_(c)Arthur Monfrais.jpg)
Juliette Leperlier_Néréide V_(c)Arthur Monfrais.jpg)
Juliette Leperlier_Replis III_(c)Arthur Monfrais.jpg)
Juliette Leperlier_Concordance des temps XIX_(c)Arthur Monfrais.jpg)
Juliette Leperlier_Synesthésies_(c)Arthur Monfrais.jpg)
INTERVIEW
I have always been inspired by film photography. The process of working in a darkroom fascinates me. I find joy in the tactile aspect to this process that has been forgotten. I approach glass as though it were a captured photograph. I find many similarities between the two arts, with light playing an undeniable role in each.
I consider myself a glass sculptor. I 'think through' the material. So, once the technique becomes an internalised thought, I no longer question its technical feasibility. I am constantly thinking in terms of glasswork. It is almost like my mind is conditioned to the pâte de verre technique.
The traditional craft of pâte de verre is at the heart of my workshop, a space that honours my great-grandfather's legacy. My uncle also carries this tradition in the same town. We have a glass museum here, which grew to be a notable name in France. Additionally, the city is putting in strong efforts to place crafts at the heart of its appeal.
I love creating on my workbench. I find it important to share and showcase my work – this is how the process becomes complete. I often say that creating is a monologue, and exhibiting a creation is a dialogue – every gaze upon the work matters. We do not create just for ourselves, it is not a secret we keep. We do it to share with others.
