cERAMICS
Guylène Galantine
Could you share a bit about yourself and your background?
Hi, I'm Guylène. I studied fashion design and marketing at Central Saint Martins in London and worked for Chloé on product development for their sunglasses and accessories line. However, I soon realised that the fashion world wasn't for me. Seeking a more meaningful path, I discovered ceramics. It felt like a natural transition from fashion, both centred around creating something special with my hands. Working with clay gave me a unique sense of connection and fulfilment that I hadn't found before.
When was the moment of revelation that clay was a form that you would like to explore?
've always had a unique connection with objects, whether it's through design, sculpture, or just everyday items. It's something that has subconsciously influenced my work, whether I was buying art while working in art collecting or later delving into interior design and decoration. I naturally gravitated towards objects, and it dawned on me that I could actually create them myself. That's when ceramics became an obvious choice, being one of the most primal disciplines for crafting objects. So, I immersed myself in learning clay modelling, and that was the trigger and the beginning of the adventure.
How do you think the places, people, and traditions where you grew up are now manifesting in your art? Could you share your feelings about these cherished gifts and heritage?
My inspirations come from a variety of sources. Childhood plays a significant role in shaping my taste and sensitivity, while my Creole cultural heritage deeply influences my work. The ochre soil of Guadeloupe, the vibrant nature, and the ancient engravings of the Arawaks all leave their mark on my creative process.
I don't rank my influences and inspirations; they come to me in no particular order. I'm drawn to folk arts and outsider art just as much as I admire Bauhaus or Oscar Niemeyer. Eileen Gray's ability to bridge visual arts and architecture fascinates me, while Enzo Mari's DIY approach resonates with my own creative ethos. Giorgio Morandi's repetitive still lifes evoke a profound sense of melancholy, and Salvatore Fiume's incorporation of African arts into modern sculpture is inspiring.
Yet, inspiration can also strike unexpectedly, whether it's from a leisurely stroll through a flea market or simply observing the world around me. In my eyes, inspiration knows no bounds—it's everywhere.
Can you take us through your process? Do you have any particular rituals that help you dive into it with greater ease and foster a more natural flow?
My brain seems to work better in the morning. I'd start my day with a cup of coffee, have a cigarette, and just soak in the ambience of my studio while letting my mind wander out to the garden. I need this moment of nothingness to get started. Podcasts and music are always a good way to start and get me in the flow.
When it comes to my process, it all starts with a drawing. Then, I move on to working with clay. I use the coiling technique, which is one of the more ancient methods of making ceramics. It helps me visualise the form. From there, I let go of the drawing and let intuition guide me. It's about being in tune with my inner vision and letting creativity flow naturally. I prefer imperfection in ceramics; it's my taste and I think it is where you can find the real touch.
When it comes to the tactile aspect of your work and its connection with your body, how does the hands-on nature impact your overall happiness and well-being?
Absolutely, that's a crucial point. In fact, I could flip your question around and say that without this hands-on engagement with the material, I might find myself struggling. Moulding and shaping those rounded forms provide me with a sense of equilibrium; it's almost therapeutic. There's an indescribable grounding effect that comes with the tactile process of crafting each piece. In my previous corporate role, I often felt adrift in the hustle and bustle of office life. However, with ceramics, I've discovered a profound sense of authenticity and purpose. Beyond the personal therapeutic benefits, teaching ceramics courses has been incredibly rewarding. It's remarkable how this craft has a way of bringing people together, fostering genuine connections and a collective sense of mindfulness in the present moment.
How do you interpret the impact of your surroundings, be it environment, culture, experiences, and social context, on the evolution of your artistic expression?
We live in a world where capitalism has reached its limits, so reflecting on our consumption habits is crucial. Objects should be meaningful; they should convey feelings and be crafted more slowly and respectfully. The revival of craftsmanship speaks to this need for authenticity in our lives. It demonstrates that handiwork and artistry are essential for restoring balance in the world. Each object, with its unique character and singularity, brings us a sense of joy and beauty in an increasingly dematerialized world.
The essence of ceramics and all other crafts lies in the handcrafting process, not in new technologies. For instance, while a 3D printer can replicate an object, it can't provide the satisfaction of creating it by hand.
The concept of an object being both functional and sculptural lies at the heart of my creative process when designing pieces. Each piece is crafted to stand alone as a work of art or to complement other elements, such as branches or fruits. Unfortunately, we often overlook the objects around us and forget the ingenious nature of simple items like a spoon.
Where do you think the biggest potential to preserve important local crafts in the contemporary context lies?
think it lies in the ability of humans to come together outside of any economic or political system. People must meet, exchange, and share to create a synergy that confronts fast consumerism.
I understand it's challenging because pursuing what you truly desire often means earning less money. Our society often demands that we work incessantly towards uncertain goals. It's crucial for everyone to be aware of the current circumstances and ask themselves important questions about their priorities.
What upcoming projects make you excited right now?
I'm working on mural ceramics, and I'm researching ash glaze, although it's a new territory for me. I'm particularly focused on finding ethical alternatives that are less harmful to the planet. There are numerous possibilities to explore in this area, and I'm eager to see where my research takes me.
Where and how can people engage more with your work?
In June, I will be participating in a group show called "Plates ou Creuses" in collaboration with Antony Huchette at the "Hyper Bien" gallery. Additionally, twice a year, I host open studio events as part of "La Nuit des Arts" in Roubaix. My collaborations extend to working with the Sessun Alma brand and various galleries in France and abroad. Moreover, I conduct weekly ceramics classes.
Guylène´s Instagram: @guylene_galantine
Image [2, 3, 9, and 14] by Tanguy-Sergheraert. Image [10] by Matthias Warnault. Image [4, 5, and 13] by Ginnie-Line Darcq. Image [15] by Michel Mguie. Image [6, 7, 8, 11, 12] belongs to Guylène.
