Each piece designed by Clémentine Giaconia is turned or modeled, and enameled by hand, which makes each one unique. Sensitive to material, color and texture, ceramics opened up a new free field of expression with infinite variations.
Clémentine is an interior architect and object designer. A transversality which more often means that she is identified as a creator in the broad sense.
After a degree in Art History, Clémentine studied Architecture and Design. She founded a creative studio with Frédéric Forest. They then designed numerous projects in interior architecture, furniture and objects for publishers and luxury houses. There, Clémentine works on a double scale, alongside French industrialists and craftsmen.
Today, 15 years after the founding of their studio and still in the continuity of creative research, Clémentine inaugurates a new form of writing with an intimate material, clay. Trained with several ceramists, her approach is nourished by precise and different gestures.
Clémentine lives and works in Paris. She manufactures pieces made one by one by hand, in small series. All her objects are in stoneware and made in her workshop.
Each piece is designed according to its use and its environment, whether for its architectural projects, or for its custom orders from clients.
Designer and interior architect, I remain deeply attached to creative professions and manual work. After studying Art History and then Applied Arts, the encounter with clay today fertilizes my creative terrain.
The smell of the clay is familiar to me. I mainly work with stoneware. Treigny, Moutiers, are natural French red clays, coming from Burgundy in the Puisaye region. They have a noble texture and incomparable plasticity.
I've always started thinking about my architectural projects in terms of materials. This choice has always been a determining factor in my designs. Even today, this sensitivity to colors and textures, whether simple or superimposed, is the hallmark of my work.
As an architect, I've always worked with the aim of mastering the unexpected and correcting defects. With clay, I rediscover discipline and mastery through gesture, but I don't erase the surprises; on the contrary, I let them sublimate. This idea of the beauty of imperfection makes the object unique.
I missed making. I then sought to create ceramic objects that were in harmony with my architectural projects, my house or my table. Today I integrated some collections into my online store and opened the request for special orders.
My glazes come from personal research. They are made and applied by me in my workshop.