MARIE JUGE Sculptor
Marie Juge
At a Glance
| Location | Paris |
| Founded | 2000 |
| Style | Raku |
| Kiln | Raku |
| Clay | Local french clay |
| Glaze | Natural ash glaze |
Marie Juge’s silhouette sculptures
Like on a runway, the impressive sculptural silhouettes of Marie Juge stand in her studio—so expressive that they cannot be overlooked.
The delicate, long-limbed figures are graceful in their allure, elegant and dynamic at the same time, with suggested haute couture patterns and hats.
And yet they are surrounded by an air of mystery. What personalities might be hidden beneath these fashionable hats?
Inspiration
For Marie Juge, these silhouettes are a combination of two passions: haute couture—the world of infinite creative and airy possibilities of textiles on the one hand—and the strength and creative force of the natural elements of fire and clay on the other.
Her fascination with major fashion houses such as Thierry Mugler or Modigliani continually provides Marie Juge with new ideas on how to translate the texture and movement of textiles, as well as the combination of different patterns, into clay. Lace in particular lends itself perfectly to this dialogue with clay, allowing for the creation of complex, delicate motifs.
To remain within Marie Juge’s preferred minimalist black-and-white aesthetic, the slender figures are fired using the Raku technique. The interplay between clay and fire gives the sculptures strength and a certain sense of unattainability, which makes them so alluring.
Creative process
The base for the sculptures is a classic white clay, which Marie Juge shapes by hand into the desired slender forms and heights. Various textiles, such as lace, are quite literally draped over the forms, giving them movement and flow. Gradually, the raw clay transforms into a figure with a distinct personality and character.
After a first bisque firing at 980°C in a small electric kiln in her Paris studio—idyllically located near Montmartre and the Sacré-Cœur—the figures are prepared for their second firing in a Raku kiln outside of Paris. A Raku glaze, which encourages the desired crackle patterns of black veining, is applied to selected areas. They are then placed in the Raku kiln for a second firing at a low temperature of around 1000°C (without protective saggers). Afterwards, they are smoked with straw or other damp materials in an airtight container. This process makes the black-and-white contrast particularly striking.
Marie Juge – between sculpture, ceramics, and fashion
Marie Juge came to ceramics by chance after a brilliant career in the business world. At a Raku barbecue party, she discovered the creatively destructive power of fire and the malleability of clay.
Both are perfect media for expressing her passion for haute couture through sculpture. Her characterful silhouettes are now well known and sought after far beyond the borders of France.
