Guylène Galantine

I craft coils, it is the oldest technique which gives me great freedom of form. The relationship between hand and material is the most direct and intuitive. The object takes shape under your fingers, without tools or machines.

I trained for 3 years with a visual ceramist, Sandrine Hurtrer. That’s how I discovered the different techniques of stamping, shaping, molding...

As the name suggests, "Variations sur pattes" is a series of objects/sculptures that share an anthropomorphic element: legs; they are literally standing objects. I wanted to create a series of objects that could function on their own and together. A bit like a family, each sculpture has its own particularities in terms of texture, color and shape, and at the same time, they all belong together. In retrospect, the idea was expressed through a gesture, as is often the case in my work.

My inspirations are many and varied, and childhood has a major influence on the development of taste and sensitivity. My Creole cultural heritage is a major element in my work, as are the ochre earths of Guadeloupe, the lush natural surroundings and the engraved rocks of the Arawaks. I do not tend to prioritize my influences and inspirations; I'm very fond of folk art and art brut, just as I am of the Bauhaus or Oscar Niemeyer. I love Eileen Gray for her dialogue between the plastic arts and architecture. Enzo Mari for the DIY and political aspects. Giorgio Morandi's painting, which, through the repetition of his still lifes, emanates a deep melancholy. Salvatore Fiume for the contribution of African art to modern sculpture... But inspiration can also come from browsing through flea markets. Inspiration is everywhere.

There's a great deal of intuition in my work, and it's not easy to discern the actual execution of a piece from the thinking that went into it. Sometimes I draw and other times I put my hands in the clay without any preconceived idea of the object. It's not always that easy; you have to let yourself be carried along by the material, break away from the sketch and welcome the accident, the imperfection, the "Sabi", the letting go...

We live in a world where thinking about the way we consume is at the heart of society. There is no material interest or need to produce more objects. Yet the need to produce never ceases. The revival of craftsmanship bears witness to the relationship between gesture and transmission, and shows us just how essential craftsmanship is to the world's balance. Through its uniqueness and singularity, the object does us good, bringing us a little piece of dream and beauty in a world that is gradually becoming dematerialized. The idea of the sculptural object becoming utilitarian is at the heart of my thinking when I design a piece. It can stand on its own or be complemented by an element (branches, fruit, etc.). In this way, everyone can appropriate the object in their own way.

The exhibition dedicated to Isamu Noguchi, sculptor and designer, "Sculpter le monde" at the LAM (Lille Métropole Musée d'art moderne, d'art contemporain et d'art brut, in Villeneuve-d'Ascq). I love his work, which fluctuates between classical craftsmanship and radical modernity, and which echoes my own.

The world of Sessùn moves me, its colorful range close to earthy colors and the beauty of clothes that exist for their functionality and comfort. Modern elegance and timeless cuts. Sessùn is also committed to showcasing artists and craftsmen whose approach is authentic, without artifice.