Raphaël Serres
Based in Montreuil, just outside Paris, artist and ceramicist Raphaël Serres works across ceramics, drawing, and wood. Originally trained in Printed Images at ENSAD Paris, his practice grew from translating characters from his illustrations into three-dimensional forms through clay. In this interview, he speaks about the interplay between drawing, sculpture, and functional objects, his approach to materials and process, and the role of collaboration in his practice.
You originally came from illustration. When did you realize that drawing wasn't enough anymore and that you wanted to bring your ideas into clay?
I’ve always developed various kinds of merchandise connected to the worlds of the comics and fanzines I self-published — resin toys, woven pieces, posters, and so on. Of course, these were also excuses to explore new skills, techniques, and formal possibilities. It was this desire to create objects derived from and extending an illustrated story that led me to working with clay. At first, I modelled a few characters I had drawn, simply to give them a physical form. I enjoyed it, and I just kept going!
How does a new piece usually start for you? Do you begin with a clear idea, or does it mostly develop as you work with the clay?
I’m still creating bridges between my drawings and my sculptures. The two mediums are sometimes connected, sometimes as a way of sketching out and visualising a ceramic project, and sometimes the illustration itself is an integral part of the work. This was the case with Le Gouffre de Cival, a residency-end exhibition at Villa Belleville, where characters from the comic, printed as screenprints, were also present as ceramic and wooden sculptures. But most of the time, I simply let my hands model the clay, and the pieces come to life in ways that are more or less conscious.
Many of your pieces can actually be used, even though they almost feel like small sculptures. Was it always important for you to combine art objects with everyday objects?
Even though they are unique pieces, and sometimes their decorative aspect takes precedence over their functionality, my ceramics are conceived for practical use. I like the idea of being surrounded by objects that we love, that accompany us in our everyday lives, and that each of these objects comes alive through use. Personally, I’m always happy to drink from my favourite cup, eat with a spoon I carved while hiking, or work with tools made from wood that I found and carved myself. I love wandering around rural museums and looking at the tools and everyday objects that people used to make for themselves; unconventional forms, full of stories and intimacy.
You work at Magma Hotel with a group of other artists. How does working in a shared studio influence your practice? Is there a lot of exchange, or do you also need time to work on your own?
We set up Magma Hôtel with some ceramicist friends whose work and company I really enjoy. Sharing a space means sharing essential moments of reflection as well as practical, hands-on time. We collaborated on a series of little bells with Julie Brugier, a tea set with Alice Trescarte, flutes with Axelle Gallou, and a vase with Anna Airoldi, among other projects. Together with a group of ceramicist friends, we also built a communal Anagama kiln in Mayenne. I see my practice as something that thrives within collective dynamics, whether during residencies, in the studio, or at friends’ places. That doesn’t mean I don’t value moments of solitude; those are very important to me too!
What are you working on at the moment? Is there anything you're especially excited about or looking forward to next?
Last January, I took part in a residency at Graphis Scripta, where I developed a series of hybrid jugs and cups combining wood and ceramics. We worked together on the production process, and with Maxime Delavet I also developed two pieces incorporating basketry. At the moment, I’m working on a series of large vases using the same process of incorporating wooden elements into my ceramic pieces. I also have a comic book scenario in mind that I’d like to develop with my friends from Zitrance. If I have the time, I’d love to get started on it in September. I want to bring wood further into my sculptural practice and create more bridges between 3D work and illustration. And, of course, I’m really looking forward to firing our Anagama kiln again, the last results were incredible! Letting the flames and the deposits of ash determine the colours and textures of the pieces opens up a wonderful, magical and unpredictable dimension.
