Lætitia JACQUETTON

The creations of Lætitia Jacquetton lean towards Japanese aesthetics, drawing primary inspiration from its crafts, gardens, and architecture. It was in Okinawa that she first experimented with glassblowing. Inspired by the Mingei movement and the writings of Yanagi Sōetsu, she approaches glass work using the cane blowing technique, a complex method requiring years of practice.

Lætitia Jacquetton continues her study of glassblowing in Murano and now works in workshops in France and Italy. Her love of nature has led her to use wild rocks collected from riverbeds and mountainsides, always ensuring that she does not disturb the natural environment from which they come.

The quest for balance between glass and stone is a constant in Lætitia Jacquetton's work, who manages to combine two materials with opposing properties in her sculptures. The hard, porous rock is softened by the transparency and fragility of the glass, which fluidly and sensually embraces its mineral walls.

Her series entitled Anthropocène introduces a new element into her sculptures: furnace brick. Found in every glass workshop with traditional furnaces, these bricks are regularly replaced but are now becoming increasingly rare. Acting as an intermediary between stone and glass, this material illustrates the relationship between nature and culture, a testament to human impact on the elements that surround us.

She further enriches her work by collaborating with a New Zealand conceptual artist, Chauncey Flay. He notably works with the faceting of stone that he collects in the Taranaki region, where he is from. The union of their works is based on the idea of contrasting rough stone with cut stone, creating previously unexplored plays of texture and reflection. Jacquetton continues her explorations by offering Murano glass lamps, using the same process as for her vases. She plays with the transparency of the material to illuminate her pieces, using a brass and LED assembly. They are called "Cotisso" in reference to the pieces of glass recovered from the bottoms of crucibles in Murano, which give their sculptural appearance to the objects made with them.