How would you define what you do?
Implicitly and explicitly, I try to transcribe the link between man and animal where the animal shows an expressiveness close to that of humans. These animals have a soul, which shines through their postures, their smile and their eyes.
What do you like most about being a glass sculptor?
The close relationship with the material. From the moment I plunge the rod into the glass basin, I cannot stop, I cannot take a break. So there is a direct relationship, a constant attention with the molten glass until the object is finished. It is a crazy feeling.
How is innovation reflected in your work?
I like to ally tradition and modernity by using traditional techniques, such as the Venetian cutting work, 'battuto', applying it in a modern figurative style. I also use new products, like luminescent pigments. Recently, I led a project on the creation of a glass sculpture based on a visual created by Artificial Intelligence.
What part does the territory play in your work?
I work in France, in Biot, which is known for its glass factory and its bubble glass (1956). Since the 1980s, Biot has played a real role in the development of contemporary glass. Today, with the support of the town hall, SoBig association, which I chair, has succeeded in setting up the Biot International Glass Festival.