Was studying history of art important?
For me, it was indispensable to have a solid culture in the history of art, to piece together the missing parts of the puzzle. At the Ecole du Louvre I specialised in religious French painting, and was interested in symbolism linked to religion and spirituality from all cultures.
How have you used these influences?
I revisit archaic themes, such as Madonna icons and medieval sculptures, and the tree of life present in several different cultures. I try to find universal and connected themes, like the garden, the woman and the flower; it's a very feminine universe.
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How do your travels help you find new techniques?
I went to Iran to learn the lustre technique (enamelling with precious metal oxides), because they have a particularly remarkable technique there. Travelling brings me extraordinary meetings and exchanges with people, and allows me to observe and be inspired.
Yet you still maintain a strong French identity in your work?
Yes, it’s true and it always surprising when people tell me that. We consider ourselves to be very globalised but in fact in the end we aren't, very much. In China, people kept telling me that they can immediately see that I’m French; it was very funny!