[Dialogue with marina. ]
What was your birth?
Born in an old port town called Camperre in the Bull Tany region of France (the westernmost end of France). The people who live here have a strong sense of belonging to their roots, Breton culture, and have a strong pride in living here. I myself have a deep connection with this land.
For example, my animals have a realistic shape, but their colors are not real. They are abstract, moving around, cannot be fixed, and are like a landscape taken from the car window. I feel that these colors have been trained and given by this land and belong to this place. The difference that I feel from this land and other lands in France is creating this feeling.
What kind of people were your family?
My mother is from a farmer. I was also a teacher in the cooking class, but I took me and my sister, and if I had time, I was doing farming. My father had always worked in a meat processing factory. They were born and raised in a simple family, but were interested in various things and were very open and bright. My parents taught us ambitious and that things are acquired by ourselves.
My father entered the forest together from an early age and showed me the world of hunting. This experience has a big impact on every aspect of me, which is now connected. I immediately switched from a gun to a camera and a sketchbook, but from there my mother always pushed her back. At that time, my sister was enthusiastic about martial arts such as judo, sinbo, and wrestling, and became stronger due to training. Therefore, I thought that creative activities such as drawing, paintings, and sculptures need to be trained and strong.
In the evening, my father took us out of the evening, showed various kinds of plants and birds, and taught an animal's landmark. In the summer, at dusk after the harvest of the barley field, I went to see a fox hunting the rats. I love this sightseeing, and later I chose "the ecology of red foxes in France and Europe" in a university graduation thesis.
Please tell us your childhood story.
I was always surrounded by animals. When I was little, the guinea pigs hit the festival, asking my grandmother to keep the second one, and bred a lot of children from there. Put it in the hut with your grandparents' rabbits. There were also hunting dogs and cats to get rid of rats. My father had a ferret and stroked well. If you don't stroke it, you'll be aggressive. My sister once won the rum in the wrestling tournament. Anyway, it was full of animals. My mother is a big bird hut, with chicken, turkey, and ducks, and my grandfather always drew a picture of a chicken and brought it. There were a lot of things to do on ranch, such as milking and taking care of piglets, and I liked to take care of animals.
At the age of 12, the first picture I drew was sold and bought a fish with that money. I made a beautiful aquarium and kept about 10 fish. At the age of 15, I was interested in reptile, and I had a turbine that has been living for about 20 years, then a snake and now a 20 -year -old lizard.
How was it at school?
I liked to decide on my own, and I hate being able to impose something like the rules. I was a student who could do anything, but I couldn't stand the authority. After that, when I worked part -time for the first time, I immediately understood that I couldn't have a boss. I never thought that studying was really fun after learning graphics and art.
About a familiar person who influenced you in school.
My grandfather who taught me reading me. A science teacher in the last grade. He asked how many deers he saw on the weekend every Monday morning. And an art teacher who was like a light in a boring high school life. Her story was one of the few things I find interesting. But most people hated most of them.
How did you come to make works?
Everything was a natural flow. At the age of eight, I started drawing oil paintings and drawing landscapes and animals. After that, I began to concentrate on the forest, especially on trees, and drawn over and over. I knew that drawing what I liked would lead to progress. For the first time, for the first time in my picture, it was sold to a family friend, and in the summer, I drew pictures in places with a lot of traffic and sightseeing spots, and most of the things I drew on that day. Immediately after leaving school, my work with the Paris gallery began.
You have children.
I have a 4 -year -old and 17 month old child. In France, childbirth is too medical, and women are always hidden as if it were natural. The animals do not teach anyone, but they do well. I have seen a lot of animals since I was a child, so it was very useful.
Immediately with the children, I started drawing together. The big one is dug stones and snakes with sculptures together. When I open the kettle, I am delighted to come to see the finish of the glaze. I started working with my child and became clear where I was heading.
Please tell me what you have come to mind now.
Recently, the water level of the river is low.
At this time, you can still see the tips in the forest.
What about electricity for a new kiln?
[Fragments about creation]
For me, the more animals and plants are, the better. I have always lived in it.
There are places between humans and wild crosses like fables and illustrations.
I think that I used the knowledge in the wild world as a plastic support and observed it in the human world.
The animal life cycle is shorter than us, and my parents breed animals to eat, leading to slaughter. I have always considered this as part of the life cycle. When something dies, others live.
Creating a work for me is to record my environment. That's why I draw a lot of animals for each life stage. Birth of cows and chickens just before slaughter.
I drew all the animals killed by my father in hunting. I wanted to calm my soul by fixing the last moment.
To eat animals, you have to kill and chop it. So, I think that working on animals is the work of re -assembling what you have chopped for many years.
I do not deny and start accepting everything. There are days when I feel sad in the morning news, and I sometimes take a dog in the afternoon and come across a herd of deer in the forest, and my joy is reflected in the work. To make an animal work, it must not be monotonous, accept contradictions and to deal with paradox.
If my interpretation is ambiguous, the animals will move lively. It looks aggressive with such light today, but tomorrow it will be a more gentle world from a different angle.
In the process of forming the work, various emotions spring up. First, there is a creative euphoria, the joy of creating a new shape, a kind of dancing energy, and the joy of giving life to the material. And as the work is in shape, with the new form, there is a sense of fulfillment, a sense of mission, and a sense of appetizing that it must exist there.
At the start of the creation, there are some kinds of encounters before sketches come out. It's like a little joke, a desire for satire, or a bird in the garden.
When drawing a picture, take a step from the sculpture, and when you sculpt, think about the picture. I need two.
It's been 11 years since I got into pottery, but I can't get out. Pottery is a vast universe, and my research is not over. I still learn a lot and go home every time as if I was reborn.
It is important what kind of story the person who saw my work would have. For that reason, I am seeking interpretation, not the simplified explanation of the world.
Nature becomes a color and drips into the animal skin. That is the scenery of the landscape.