Lola Moreau

Lola hosts us in her Parisian studio, to talk about craftmanship and inspirations.

How did you start?

I studied Applied Arts at Estienne School and later at the Gobelins. Then, I worked for almost ten years as a graphist & web designer. At some point, without really thinking about a change of career, I got tired of always working behind a computer, and I started ceramics classes; It was at Les Dalo in the 18th arrondissement of Paris. I wanted to learn, and that's when I heard about some ceramists who were looking for other people to share a studio, and I took the opportunity.

How did you refine your technique and style?

Having my own space where I could come and go, helped me in my learning process. There is no better way to learn than practicing, and being surrounded by talented people who supported me and advised me was an amazing experience. I also did a short internship with Valérie Raymond Stempowska, a ceramist. She taught me how to glaze and helped me to reinforce my knowledge.

What inspires you ?

I like to know what’s new: the latest trends, to leaf through magazines, check out websites like Good Moods, and look around me. Without being an expert, I like vintage pieces. I often go to flea markets, garage sales or galleries to browse pieces I like, find new textures and materials, it’s very inspiring. I’m lucky to live in Paris, where we can find unique and inspiring places around every corner.

In Paris, we have the Nous shop in the 9th district, where you can find a stunning selection of ceramics made by local artists, who use glass and other materials. More recently, I discovered Shun Kumagai, an artist who works on glass, clay, and metal – it’s beautiful.

What materials do you work with the most?

I mainly work with stoneware, which is a type of clay that is fired at high temperatures and comes in many varieties: black stoneware, white stoneware, red stoneware, with different degrees of smoothness or grogged (containing grit). Personally, I enjoy regularly switching between them, depending on the piece I’m about to make. Each type has its own texture, feel, and distinct finish. There is already a lot to explore within the realm of stoneware.

Are all your creations made with stoneware?

From time to time, I work with porcelain. Like stoneware, it is fired at high temperatures, but it has a very particular plasticity - smooth, elastic, and can be quite challenging to work with. Despite that, it’s a very beautiful material, and it’s very interesting to try other things.

What is your creative process?

Most of the time, I have a shape or an object in mind. While I might occasionally make a sketch, it's mostly to help me remember. In the exploration phase, I prefer working directly with clay and volume because it's easier; you immediately know the direction you're heading. Moreover, what's great about clay is that until it's fired, it's infinitely malleable—you can create, undo, and start over. So, it's very easy to experiment directly with the material. Alongside this, I create many small bowls that I use to test glazes. Sometimes it just starts from there—I'll have a sample and think, "this is interesting, what do I want to create with this color or this combination?" Then, I conduct more tests to see the outcome.

Once the piece is finished, it needs to dry, followed by the first firing at 980°C, which solidifies it while keeping it porous. This allows for glazing before the final firing between 1260°C and 1280°C. Each firing lasts two days, with the temperature gradually rising over about 12 hours. It takes a day and a half for the kiln to cool down before it can be opened. Patience is essential in this process.

What is the most crucial or delicate step?

For me, the most crucial stage is the drying process. If the piece dries too quickly, it may deform or develop cracks. Additionally, we are heavily dependent on the weather: whether it's warm, humid, or dry, pieces won't dry uniformly or at the same rate, requiring careful monitoring. The firing step is also important because once completed, there's no turning back.

If you could choose, what would be your favorite piece among all those you have created?

I would say my first large-scale pieces, such as bowls or vases. For a long time, I limited myself to smaller formats, partly because I was working with a wheel and didn't handle it as proficiently. When I joined this studio, the other ceramists introduced me to various hand building techniques. This is when I freed myself from the wheel and began creating different types of pieces.

What advices would you give to a beginner?

There are a thousand ways to create and learn ceramics, so I wouldn't have very specific advice. In general, I would say not to be too hasty because ceramics is a slow practice.

What would be the next step for you?

Perhaps a larger studio, even though I feel at home here with Top Top Céramique and Mylène Escande.

Could you share a few thoughts about Centre Commercial?

I am very pleased to work with you; I've known you almost since you opened. I love the concept of a place that exclusively gathers clean brands. I also appreciate that your team have a good understanding of craftsmanship, especially regarding timelines. It's important to collaborate with people who understand our needs.

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