Myriam Greff

Kintsugi artist

©Marion Saupin

A Dame in shining armour

Myriam is regarded as a custodian of this precious and endangered craft
She has spoken about kintsugi in magazines and TV reports
She is now a Member of the French Order of Arts and Letters

Myriam Greff is a master in the age-old Japanese art of kintsugi. She has gained an international reputation as an art restorer and gilder thanks to her collaborations with numerous labels such as Grand Seiko, Mazda and Audemars-Piguet. A graduate of the renowned Condé School in Paris, Myriam has been practising her craft since the mid-2000s. Her approach combines tradition with modernity. Indeed, in her workshop, the most ordinary of objects in ceramic, marble, wood or glass are transformed and elevated into unique, personalised pieces. "Imperfections and cracks are repaired with gold, lacquer, silver or platinum," she explains. Such precise work requires not only dexterity but also patience: the smallest works can take Myriam up to 20 hours over several months.

Interview

©Marion Saupin

©Marion Saupin

Where did you learn your craft?: My master's degree in art restoration focused on ceramics and gave me valuable scientific and technical know-how. This background enabled me to independently learn kintsugi, a technique that I discovered through the principles of lacquered wood restoration, to which it is intrinsically linked.
How do you choose the objects you repair?: My approach is divided between restoring objects on request and transforming those that chance brings my way. Often meant to be thrown away and frequently given to me, they carry the seeds of a potential that I strive to bring to fruition. The application of a maki-e or the inlay of mother-of-pearl can bring a radical transformation on the humblest of pieces.
What materials do you prefer to use in your work and why?: The core of my practice revolves around Japanese lacquer. As the pillar of kintsugi, it is also a material of incredible richness, opening up an infinite field of applications and ornamentation. Moreover, its food-safe quality is a true asset. This plant sap will never cease to captivate my mind.
Do you think that kintsugi is a dying art?: Unfortunately, yes. The introduction of simplified kits has completely devalued the essence of this art. Most people do not realise what kintsugi represents in its original form, its intrinsic philosophical richness, which advocates modesty and acceptance of the cycle of life.

Myriam Greff is an expert artisan: she began her career in 2010 and she started teaching in 2010