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• NATIONALITY
  Australia&France, 호주&프랑스
• CURRENT JOB/POSITION
  Full time at Alterfact Studio
• EDUCATION
  2013 Design Academy Eindhoven, Contextual Design, Masters
  2011 ESAD Reims (Lucile Sciallano), Art and Design, Bachelor
  2008 RMIT (Ben Landau), Industrial Design, Bachelor
• EXHIBITION
  2018 Vessel, Shepparton Art Museum, Shepparton, Australia
  2018 Vanguard, Craft Victoria, Melbourne, Australia
  2018 Ornament is Fine (solo), National Gallery of Victoria, Melbourne, Australia
  2018 Hello World, UTS Gallery, Sydney, Australia
  2017 Scape, Jam Factory, Adelaide, Australia
  2017 Handmade by Machine, Melbourne Design Week, Melbourne, Australia
  2017 Every Second feels like a Century, WestSpace, Melbourne, Australia
  2017 Designwork #1, Sophie Gannon Gallery, Melbourne, Australia
  2016 Out of Hand, Museum of Applied Arts and Sciences, Sydney, Australia
  2015 Victorian Craft Awards, Craft Victoria, Melbourne, Australia
• AWARD
  2018 Grant, Individual Projects, Australia Council, Sydney, Australia
  2018 Grant, Creator’s Fund, Creative Victoria, Melbourne, Australia
  2017 Shortlisted, Victorian Craft Award, Craft Victoria, Melbourne, Australia
  2017 Honourable mention, Manningham Ceramic Award, Manningham Council, Melbourne, Australia
  2016 Honourable Mention, Gyeonggi International Ceramics Award, GICB, Gyeonggi-do, Korea
  2015 People’s Choice Award, Victorian Craft Award, Craft Victoria, Melbourne, Australia
• COLLECTION
  2018 Shepparton Art Museum, Shepparton, Australia
  2018 Schallaburg Art Museum, Melk, Austria
  2017 National Gallery of Victoria, Melbourne, Australia
  2016 Museum of Applied Arts and Sciences, Sydney, Australia
  2016 Korea Ceramic Foundation, Gyeonggi-do, Korea
• RESIDENCY/WORKSHOP
  2018 Artist in Residence, Australian Tapestry Workshop, Melbourne, Australia
  2015 Artist in Residence, Northcote Pottery, Melbourne, Australia

이 스크린은 CAD, 3D, 로보틱스를 사용해서만 가능한 새로운 유기적 하이테크 언어의 출현에 초점을 둔 <장식이 좋아요>라는 설치작품의 일부이다. 이 작품은 400개의 마름모꼴 타일을 실크로 묶어 만들었다.

This screen is part of an installation called “Ornament is Fine,” which focuses on the emergence of a new organic high-tech aesthetic language only made possible by of computer aided design, 3D printing, and robotics. This piece is composed of 400 hatched tiles, hand tied together with silk.