Made once.Never again.
Editions
The ephimeral, made tangible.
The timeless form of ancient Greek pottery, reimagined through a minimalist, tactile lens. The process is instinctive — texture, gesture, and a quiet energy passing between artist and material, her touch lingering in every curve. Light does the rest: revealing the grain, the imperfection, the singularity that makes each piece impossible to repeat. Exhibited at Flowers by Bornay, Barcelona, 2024.
Hidria- Sculpture
Landscape reimagined as body — a heartfelt tribute to nature and a question about how far we've drifted from it. In the artist's own words: a series built to "reimagine landscapes and question our society's growing disconnect from nature, inviting us to embrace life's changes and our inherent connection to natural laws."
Landscape, given skin
Skin, Wall Art
A language, developed on the surface.
Paris-based, working in ceramic since the age of sixteen — Scalabre began with what he calls "utilitarian containers," the vessels present in the small rituals of everyday life. That instinct never left him; it just multiplied. His sculptures are built from thousands of individual amphora-like forms, each one distinct, wrapped so meticulously across a single surface that from a distance they read as mountain ranges, and up close as an entire field of vases in motion. The shapes trace back to a fascination with Greek mythology — visible not just in the forms themselves, but in the names he gives them.
Grégoire Scalabre
70,000 vases, moving as one.
The sea, remembered in clay.
A monumental homage to Thetis, the Greek sea nymph — more than 70,000 individual vases, in a gradient from sheer white to deep green, swelling and retreating like an ocean wave. No pattern was set in advance: shapes and colors from the kiln's own palette were joined instinctively, one against the next, until the surface began to speak for itself.
A fresco built from thousands of individual drops, exploring juniper trees and the way light moves across branches — light glides over the surface like a second skin.
Light, given skin
A Forest - Installation
Two forces. One orbit.
Raw natural force expressed through steel, bronze, wood, and mass — where form itself becomes the statement, without ornament to hide behind. Velocity, momentum, and motion, compressed into permanent stillness. Monumental in scale, installed across four continents — private collections, cultural institutions, and public landscapes alike.
Elemental
A 7.5-meter mirror-polished stainless steel form — its surface never reflecting the same scene twice, changing with whoever and whatever stands in front of it. Velocity and momentum, compressed into something that will outlast both.
Spiral Vortex — Monumental sculpture.
Never the same — yet still
Paint pushed toward relief — thick, gestural strokes that give the characters surface, shadow, and physical presence. Nothing here is smoothed over; the mark of the hand stays exactly where it landed.
The mark stays visible. The colour stays loud.
Superchunky — Painting. imagination series.
Motion, held permanently still.
Balance & Grace
Poise, cast before it can tip.
Rising, mid - transformation.
Shown together, these two read less as separate works than as two chapters of the same idea. Balance & Grace is stillness achieved — fluid curves and interlocking forms holding opposing forces in quiet equilibrium, a study in what tranquility looks like once it has finally settled. Phoenix is the turbulence that comes before it: a dynamic, fiery form built around the oldest cycle there is, death giving way to rebirth, resilience proving itself through transformation rather than the avoidance of it.
Phoenix - Sculpture
Weathered steel, its spiraling form evoking a sense of timeless motion — the earthy tones of its own patina integrating seamlessly with whatever surrounds it. Art and environment, in balanced conversation rather than competition.
Weathering, treated as a feature.
Rustic harmony - Sculpture
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