Laureline Galliot

Rising Talent - January 2020

Hall 6

Nominated by the director of the Ecole Camondo, René-Jacques Mayer.
Laureline Galliot trained as a dancer and as a textile colorist before taking a degree in design at ENSCI-Les Ateliers in Paris. Using an iPad and virtual reality software initially developed for the animated film industry, she creates objects by sculpting with color. Four of them have already found their way into the French National Design Collection at the Centre National des Arts Plastiques in Paris.

What place does color have in your work?

I studied textile design at the ENSAMAA fashion school in Paris, where I developed an eye for how to use it and I like the idea of introducing it into the world of objects. In mass production, it’s not something that’s really taking into full consideration. Products are often white, gray or black simply because they’re the cheapest hues. I’ve created a process that is half-way between design and painting. What’s important for me is to place color at the heart of my work, to invert the paradigm that it’s just a finishing touch. I see it more as material in itself.

How do you work exactly?

I started off using an iPad, but the ultimate fantasy was to be able to paint in 3D. It’s something that I’ve been able to do thanks to virtual reality software, which I first discovered at the Disney Research Lab in the States, where it’s used to draw cartoon characters. It’s a sort of Photoshop in three dimensions. I put on a headset and hold a joystick, with which I paint in virtual space. It’s a very gestural process, which is something you can see in the resulting objects. What’s great is that you can directly paint them to their actual scale, which is not something you can always do on a computer screen. Then, I simply press a button and print them out in 3D.

You’ve talked about your work being “a manifesto for accepting things that are deformed or misshapen”. Can you say more?

That’s something very dear to me. I’m really passionate about the way industry has distorted things, even in the food sector. There’s a standardization of forms, with only shapes that can be easily molded. We’ve ended up producing vegetables in that way. They all have to be perfect geometrical forms. There’s no longer a place for anything misshapen. I want to reeducate people’s eye to things that are less industrial and more organic, where the ultimate goal is no longer a sort of perfect rigor.

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