I use my dyslexia as a fundamental principle of expression.
In the studio, it translates into a deliberately non-academic way of working: when I develop my mixes, I don’t rely primarily on precise weighing, but on ladles and bowls, like cooking.
I gather some materials, and I also buy others from professional makers. From there, I build my own clay bodies and slips through feel: density, grain, elasticity, how the material behaves on the wheel, in the hand, and in the firing. This intuitive approach welcomes deviations, accidents, and discoveries—forming, over time, a personal vocabulary of materials.
Photos by David Loveau & Anne-Laure Camilleri