Frustre

Originally from Anjou, I examine the post-industrial heritage and use of local mineral matter and am interested in creating functional designs for living spaces by examining history, minerals and their everyday impact on art and design. I recreate, democratise and accentuate slate and limestone. I combine artisanal and industrial know-how for creative purposes by reinterpreting material.

“Domestiquer” (Domesticate) is a project that aims to reintegrate heritage with the author’s design process, fuelled by encounters of creative and economic thought with partners and collaborators. By combining the industrial and artisanal units of production in a given region in order to design a constructive, social and meaningful project, new ways of applying mineral matter and stone craftsmanship arise and, in this way, I study the adaptability of hybrid objects to the domestic world.

The means of artisanal and industrial production inexorably influence form and are the technical and aesthetic extension of the shaping of the object. All the pieces have a simple and striking design, giving pride of place to raw materials and tools. I also create parallels between the arts and the digital dimension, a pretext for the encounters between different times, techniques and constraints.
In the past, and still today, traditional materials like slate and limestone have proved their worth and are firmly present in history. Sadly, these minerals are sometimes considered “poor” and I try to evoke the origin of their use. They are the basis of modern home designs and I like to modestly pay homage to them by reinventing them. By redesigning their original function, they become objects and are included in domestic spaces.

My natural resource-based creations are the subject of a real archaeological work that brings together the heritage of symbols of construction and the codes of modern works. Their resulting identity is a mastered, simple and raw aesthetic that is inspired from architectural codes being used as a creative lever. The volumes are simple but constructed. The immersion of material in space is pure, as if the object had always been there, as if it were part of the walls.
I prefer a visual, obvious and sometimes primitive style that I find reassuring and self-assured. The round and decorative forms respond to the straight and pure lines by alluding to the periods of ornamentation to the streamlining of space of the 90s. The tools and lines can be interpreted as the new, modern but elementary, architectural forms, just like monolithic and geometric sculptures. The sparing use of resources is clearly evident in a monumental dimension where habitat and environment mix.