Geneva-based French designer Clément Brazille enjoys exploring the potential and limits of materials in his work, focusing particularly on production methods and the shaping of objects.

 

It's striking that you use diverse materials like ocean travertine, ceramics, and wood in your work. What’s the reason behind this? Is it the pleasure of exploring different materials or pushing boundaries?

 

You're right; I see myself first and foremost as a designer, and I believe it's my duty to understand all materials. Each material is like a blank canvas on which I want to leave my mark. Naturally, every material behaves differently, presenting a balance of constraints and benefits, where I believe innovation thrives. For me, the aesthetic qualities of an object are rarely a primary goal; they are more often a byproduct of a gesture, an idea, or a manufacturing process. Playing with limits is a recurring theme in my work. For instance, while stone has a heavy connotation, I prefer to draw it thin and light. Ceramics often evoke images of tableware and fragility, yet I like to use them in large formats, such as furniture or load-bearing elements.

 

Which material attracts you the most, and why?

 

Naturally, I would say clay and, by extension, ceramics. Clay, in its natural state, is a living and empirical element; a dialogue occurs when you work with it. It’s no coincidence that clay is used in art therapy to enhance emotional and mental well-being. Historically, civilizations utilized earth and ceramics as the first medium for writing. I learned the basics of clay from a self-taught ceramist who worked with renowned artists and collections. Ceramics can be both accessible and highly technical, as seen in applications like space components or technical watchmaking. The history and potential of ceramics fascinate me!