Ceramics and Ecology: Why I Choose Slowness and Thoughtful Production

In a world where everything is speeding up, where we consume faster than we produce, ceramics has taught me another sense of time. A slow, patient, organic rhythm. In my studio in Paris, Ménilmontant, every gesture is part of this philosophy: working with clay respectfully, producing less but better, and anchoring my craft in a truly ecological approach.

But what does ceramics and ecology really mean?

For me, it’s a blend of awareness, technical gestures, and a way of life that takes the time to do things well.

Clay : A Precious, Not Unlimited, Material

It’s easy to think of clay as an infinite resource. But the clay we use comes from deep within the earth, and its regeneration takes thousands of years. In a context of overexploitation, where industry consumes tons of clay every year—it’s our responsibility, as artisans, not to contribute to this depletion.

In my studio, I work consciously:

• All clay scraps are recycled.When a piece fails or leftovers remain on the wheel, I let them dry, rehydrate them, knead the clay... and it becomes workable again. Nothing is wasted, everything is transformed.

• Every gesture matters.To shape is to listen to the material: press too hard or dry too quickly, and it cracks. Clay sets its own pace, an

• d by embracing it, we create sustainably.

A Closed Water Cycle: Recycle, Settle, Reuse

Ceramics requires a lot of water—for cleaning tools, moistening the clay, smoothing forms.But instead of letting liters flow away, I’ve set up a closed water system in my studio.

No dirty water is thrown out. Each bucket is left to settle: clay particles sink to the bottom, clean water rises to the top and can be reused. It’s a simple process, but one that changes everything. It reduces waste and avoids polluting sludge going into drains.

In a studio like mine, it saves hundreds of liters of water a year. A modest gesture, but one that helps make my practice more responsible and environmentally respectful.

Slowness as an Ecological Necessity

Some might think slowness in ceramics is just a romantic artisan’s choice. But it’s above all an ecological necessity. Because rushing leads to waste:

• A piece that dries too fast will crack and be discarded.

• A kiln fired half-full wastes energy.

• A glaze poorly measured in haste means a failed firing.

So, I wait. I let pieces dry at their own pace. I wait until the kiln is full before firing, because a high-temperature firing uses as much electricity as a house over two days. This slowness is a choice, but also a discipline.

It goes against a society where everything is expected instantly. But overconsumption is born of that constant urgency: produce fast, sell fast, discard fast.Ceramics brings me back to another relationship with time, one of patience, precision, and care.

Producing Less, But Better: Finding a Balance Between Ceramic Production and Ecology

I don’t aim for mass production. My studio is not a factory, and I don’t want it to become one.I prefer to produce less, but to do it well. That means:

• Offering small, intentional and coherent series.

• Recycling clay and limiting waste.

• Working with responsible suppliers who share these values.

• Refusing commissions with unrealistic deadlines.

That doesn’t mean giving up creativity, but practicing it with awareness : Each piece is made to last, to be used, not just to fill shelves or display windows.

Want to Support Responsible Ceramics?

Every piece I create is shaped with this philosophy in mind.If you’re looking for ceramics designed with respect for living beings and the rhythm of time, you can discover them online or directly in my studio.