Clémentine MULLER

Research in glaze occupies a central place in my artistic practice. The pieces I create make it possible to recompose the chromatic charts obtained through variations in the elements that make up a glaze recipe. Each set consists of several objects, and each corresponds to a specific point within a particular glaze research process. Taken together, they allow one to grasp the ways a color appears, transforms, and mutates.

Modular and activatable—whether through actual use or imagined, fantasized use—my works stand at the intersection of the functional and the sculptural. They question the relationship between human and tool, the sacred and the domestic.

Appendages, curves, and other flesh-like protrusions bring Eros to the foreground. By contributing to a staging of gesture and intimacy, the ensemble of pieces is permeated by the idea of a fetishization of ceramics, of the glazed surface, and of its history.

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In order to test, refine, and extend the research—both in terms of form and glaze—that underpins my artistic approach, I develop ranges of utilitarian objects centered around the art of tea. Cups and teapots appear as accessible fragments of a broader body of work, forming a bridge between the art piece and the functional object.

The utilitarian dimension asserts itself in my practice as a working support, allowing me to master the glazing gesture specific to each type of glaze and form. These objects may serve as preliminary steps before moving on to artistic pieces, or afterward as a way of maintaining technical fluency. Each object available for sale is unique and helps to valorize the research process while minimizing the waste generated by experimentation.