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— clay from the past

The discovery of clay and pottery played a major role in the settlement of the human population. Fire transforms clay into ceramic, a discovery that made cooking and storing food possible. 
Did pottery boost the birth of agriculture or was it the other way around? 
Different theories support both theses. This discovery could not have been based on pure luck, because one must combine too many factors in order to succeed.
For French speakers interested in the topic - I recommend this episode of the incredible podcast “sur les épaules de Darwin" (on the shoulders of Darwin).

I think about the lost worlds that engendered us and the countless people that made objects with clay over thousands years.

I feel like there is a lineage, something very personal, that runs through my reptilian being and somehow guides and influences my practice. Something that makes me want to bring the ancient to the now and to the future.

Symbols and symbolic meanings are an extended part of this interest.

Twyla Tharp put into words the importance of symbols and metaphors in human interactions and creative endeavors. She talks about the metaphor quotient: "Part of the human intelligence is the ability to transform the meaning of one thing into something else. Without symbols and the ability to understand them, there would be no writing, no numbers, no drama, no art. Everything we create is a representation of something else, enriched by me."


— extend the mental map, create a conversation

The podcast mentions that the first pieces of utilitarian pottery date from around 20 000 BC, but some art objects and sculptural relics made of clay date from 29 000 B.C, which is 9000 years earlier. This brings up two questions: why separate art from utility? And why separate artist from designer from craftsperson, when these capabilities can be embodied by one person?

Does function define the essence of the object?

When you say clay, very often the next word or image in people’s mind is pottery, which is also often defined by its function or utility. But most of the time you cannot define a potter’s work by just that. It's restrictive. The idea is to extend the mental map, expand the box, create a conversation and show people that you can have a plural identity working with clay, both in the work itself and your approach.

Words can also be boundaries, that is why I’d rather use the group of words "working with clay”, than one specific term to talk about what I do.

I’m interested in creating objects that are at crossroads, and rather let people decide what they see, what they feel, and how they want to interact with the object. I am just at the start of this story. You can relate to it in many ways but it will continue with you. You need to make it your own.


It's an ongoing process with a nonmaterialistic approach throughout the infinite cycle of clay. 
There's an acceptance of the unexpected, especially during the firing.
Making a piece does not mean that it has to exist.