About

Approach

Each botanical sculpture begins with the close observation of a living plant. Rather than aiming for botanical perfection, I try to capture the individuality of each flower, its natural rhythm and the subtle qualities that give it character. As I observe the plant, an image gradually takes shape in my mind, which I then translate into porcelain and copper. As a result, every sculpture is unique.

Origins

Many years ago, I saw the celebrated porcelain bouquet of 1749 at the Dresden Zwinger. I was struck that such a delicate and seemingly motionless material could hold not only the appearance of flowers, but also their living presence.

In that moment I understood that it is the translucency of porcelain that gives the sense of light, air and life. From then on, porcelain became a material unlike any other to me.

Ever since, I have thought about how to create botanical sculptures that feel truly alive. For the stems and leaves I deliberately set aside the bronze of the Dresden bouquets and chose copper instead, as it is more supple and better suited to soldering. At the same time, I began to search for my own way of working with porcelain.

That search continues to this day. Each new sculpture brings its own challenges and leads me to new solutions.

Porcelain and Copper

I never choose between porcelain and copper; to me, one cannot exist without the other. Porcelain brings the flower into being, while copper allows it to live, to move and to keep its natural grace. Together, the two become one.

The Present

My work has grown out of a centuries-old tradition of botanical art, yet its language belongs to the present. Because it follows no style but the plant itself, it belongs to no particular period or fashion. This is why it is equally at home in a classical interior and a modern one, completing each rather than adapting to it. I make contemporary sculptures for the spaces we live in today, yet I do not think of them as ornament. A work that carries the presence of a living plant changes the atmosphere of a room rather than simply filling it.

Talmaris

The first person to recognise and support my work was Alain-Paul Ruzé of Talmaris in Paris. Around the same time, Doris Brynner of Dior Maison also took an interest in my sculptures. Their trust called for uncompromising quality, and those high standards became an important part of my growth as an artist.

In time, Alain and I became friends. His exceptional eye, his exacting standards and his many years of working with collectors around the world have profoundly shaped my development. Thanks to him, I was able to define my own artistic language with far greater clarity.

For many years, almost all of my work was presented through Talmaris, and I continue to value that relationship. Today my sculptures are also available directly from my studio and through selected partners.

In a New Space

Today, my work can be found in private collections around the world. What matters most to me is that a sculpture’s story truly begins only once it leaves my studio. It is in its new surroundings that it fully reveals itself: light draws out different qualities in the porcelain, and, over time, the sculpture quietly gathers a history of its own, alongside the people who live with it. I like to think that, in the end, it becomes something deeply personal to those who own it.