Mathieu Peyroulet Ghilini

Rising Talent - January 2020

Hall 6

Nominated by designer, Pierre Charpin.
Mathieu Peyroulet Ghilini first came to prominence after winning the Jury Grand Prize at the Design Parade at the Villa Noailles in 2013 for his project Sophistication. As part of the award, he participated in residences at the Sèvres ceramic factory and the International Centre for Research in Glass Art (CIRVA) in Marseille. His work, which is characterized by an interplay of simple geometric forms, has been exhibited at the Pompidou Center in Paris and the French Institute in Cologne.

How would you describe your overall approach to design?

I think it’s really linked to the dissertation I wrote at the end of my degree. What basically interests me is to know why things with the same function have different forms. Why one table leg can be very strict and straight, and another really fluid? Why a designer choses one aesthetic rather than another? It was the starting point for my Sophistication project. I took a piece of wood that was 3cm thick and joined it in different ways. The result was four different trestles, which are aesthetically diverse, but were all created by me.

How did your Mur de Sèvres partition made from porcelain and rope come about?

I was asked by the creative director at Sèvres at the time to demonstrate not only the beauty of porcelain, but also its strength. I also had to combine it with another material. I began to work with rope and came across a photo of the art patron Marie-Laure de Noailles in her Paris town mansion and saw she had rope trellises on which she would hang her paintings. I was attracted to the fact that rope is both elegant and inexpensive. As for the porcelain elements, a lot of weight is exerted on them. I liked the idea that if they fall to the ground, they break into a thousand pieces, yet at the same time they’re capable of supporting a force of 50kg on both sides.

You do lots of drawings and paintings. What is their place in your work?

They are absolutely essential. It’s very complicated to design objects. You’re always confronted by the logic of manufacturers, who say they should be like this or like that. At the end of the day, they’ve often been largely altered by all the people involved in the process and you always have to be attentive that the end result still corresponds to the essence of the project. With my drawings, it’s the complete opposite. They give me total freedom. I can sketch forms exactly as I’d like them to exist. They serve as a kind of reference for me.

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