Lætitia Jacquetton

Lætitia Jacquetton 's creations are oriented towards a Japanese aesthetic, with craftsmanship, gardens and architecture as her primary sources of inspiration. It was in Okinawa that she first experimented with glassblowing. Inspired by the Mingei movement and the writing of Yanagi Sōetsu, her approach to glassmaking is based on cane blowing, a complex technique that requires years of practice.

Lætitia Jacquetton continued her glassblowing apprenticeship 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, while taking care never to disturb the natural environment from which they come.

The quest for balance between glass and stone is a constant theme in the work of Lætitia Jacquetton, whose sculptures combine two materials with opposing properties. Rock, hard and porous, is softened by the transparency and fragility of glass, embracing its mineral walls with fluidity and sensuality.

His Anthropocene series introduces a new element to his sculptures: the kiln brick. Found in every glass workshop with traditional furnaces, these bricks are regularly replaced, but are now tending to disappear. Acting as an intermediary between stone and glass, this material acts as an illustration of the relationship between nature and culture, bearing witness to the human gesture on the elements that surround it.

She has further enriched her work by collaborating with a New Zealand conceptual artist, Chauncey Flay. In particular, he works on faceting the stone he collects in his native Taranaki region. The union of their work is based on the idea of contrast between rough and cut stone, creating as yet unexplored textures and reflections. Jacquetton continues her explorations with Murano glass lamps, using the same process as for her vases. She plays with the transparency of the material to illuminate her pieces, and uses a brass and LED assembly. They are entitled "Cotisso", in reference to the pieces of glass recovered from the bottoms of Murano crucibles, which give their sculptural aspect to the objects made with them.