How do you envision modularity in your work?

I envision modularity as a means to develop new ideas rather than a functional aspiration. By integrating this concept as a means of creative research, it allows me to consider new possibilities and explore my imagination further.

Sophia Taillet portrait. Photo credit Louise Desnos.

In what way your creations are part of a dialogue between nature and craftsmanship?

The “Rise from the abyss” series confronts blown glass with organic elements from a natural landscape. The craftsman blows freely on stones ; like a wild landscape, the molten glass evolves according to its environment and shapes itself on the relief before being captured in time.

“Alyssum”, a series of pieces by Sophia Taillet and Jefferson Fouquet. Photo credit Sophia Taillet.

How do concepts of origins and heritage have a role in your design practice?

“Infinite territory“, a series of bronze door handles, explores the notion of value and thoughtfulness of architectural details. By giving them an artistic dimension, I seek to elevate the value of objects that have been standardized over time.Like a piece of Jewellery, they become desirable objects that will be passed down through generations. The purpose is not to rely on existing origins and heritages but to try to stimulate new ones in order to create objects that will last.

“Infinite territory“ by Sophia Taillet.

Sophia Taillet’s reference 1: Meret Oppenheim.

Méret Oppenheim, 1976. Photo credit Claude Lê Anh.

Sophia Taillet’s reference 2: Anne Teresa De Keersmaeker.

Rosas danst Rosas de Anne Teresa de Keersmaeker. Photo credit Anne Van Aerschott.

Sophia Taillet’s reference 3: Noguchi.

Isamu Noguchi working on the plaster original of “Mu”, 1950. Photo credit The Isamu Noguchi Foundation and Garden Museum.

Sophia Taillet’s reference 4: Mary Miss.

“Greenwood Pond: Double Site” by Mary Miss, IA United States, 1989-1996. Photo credit Des Moines Art Center, .
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In conversation with Sophia Taillet