When she realizes that her work as she likes to recall, are "among the table and object, painting and sculpture, and installation work ", Flavie Cournil itself the goal of limiting the maximm the use of complex techniques. Seeking to avoid some form of grandiosity, obsequious and useless babbling that would look like a demonstration, she organized a sort of "decay" of discourse that renders the work in the heart of the artist's work. It also gives in this way, afford more freedom, not to lose. It only seems to account for the clarity of context, thus preserving the ability as his creations to touch our sensibilities. The two examples she gives us to see were simply cut from porcelain plates and then painted with glazes. Timeliness allows him to retain the freshness and spontaneity of the gesture, the simplicity of the result, its effectiveness. This economy of means guarantee the visual impact of parts, yet accentuated by the choice of monochrome. Their reading is one way substantial and immediate. They are nonetheless surprisingly powerful in the treatment of quantities used. Their small size shall not prevent the impression of monumentality, yet never get rid of this light poetry due to drawing shapes, drawing almost feverishly sketched quickly and apparently without any special care or, in any case, without a strategy and away from academic. Hung from the wall or put in equilibrium on small shelves, their presentation is designed with, paradoxically, many of us care so they are accessible and familiar.
Yves Peltier
text published in the Catalogue of the Biennale Internationale Design comtemporary and Ceramics, Vallauris 2010
