Atelier Kintsugi

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Contemporary artist & sculptor exploring fracture, resilience and inner beauty. Chevalière des Arts et des Lettres · France

L'atelier Kintsugi restaure vos céramiques et verres avec la technique traditionnelle japonaise de la laque d'or

20/10/2026

From lead to gold. An alchemy in progress.

This blue-and-white plate came to my studio with an old lead repair. The metal wasn’t simply covering a crack: it replaced a missing section of the rim.

A reminder that someone, before me, chose to repair this object rather than discard it.

The lead has now been removed, and the missing section rebuilt. I will finish the repair with urushi lacquer and 24-carat gold, using traditional kintsugi techniques.

Not a literal transmutation, but a new chapter in the history of an object already cared for by other hands.

For now, a glimpse of where it began.
The gold comes next.

20/10/2026

From shattered porcelain to 24k gold. ✨

Piece by piece, this porcelain bust was brought back to life through the traditional Japanese art of kintsugi.

Each fragment was carefully reassembled with urushi lacquer, before the fractures were revealed in pure gold.

The damage is not erased. It becomes part of the sculpture’s new identity.

What was once broken becomes the most precious detail.

16/10/2026

What happens when Japanese pop culture meets one of Japan’s oldest repair traditions?
This official Pokémon bowl brings together three instantly recognisable characters — Pikachu, Mew and Eevee — on a piece originally designed as an everyday object.
Kintsugi changes the way we read it.
The traditional urushi repair does not hide the break. The gold line crosses the printed decoration and becomes part of the image itself, connecting contemporary Japanese popular culture with a centuries-old approach to repair.
What was once a playful functional bowl becomes something different: an object with two histories — the one it was manufactured with, and the one it acquired through use, breakage and restoration.
Pop culture. Fracture. Gold. A second life.

Available now on my website or by DM.

$Why can a fractured face still feel so calm?In Buddhist sculpture, lowered or half-closed eyes often suggest inward atte...$

13/10/2026

Why can a fractured face still feel so calm?
In Buddhist sculpture, lowered or half-closed eyes often suggest inward attention, meditation and detachment from the outside world.
Here, the expression remains completely serene, even though the surface has been broken and repaired.
The 24k gold kintsugi does not try to hide the fractures. Instead, it creates a second drawing across the face and crown — making the history of the object visible without disturbing its calm.
Even from the back, a single gold line continues across the blue glaze, reminding us that the repair belongs to the whole object, not only to the part we see first.
One face. Several lives.
Blue glazed Buddha head
Traditional urushi kintsugi · 24k gold
This piece is available for purchase on my website.
For more information, you can also contact me directly by DM.

09/10/2026

Why did cobalt blue become one of the most enduring colours in ceramic history?
Part of the answer lies in fire.
Cobalt is remarkably stable at the high temperatures used to fire ceramics. For centuries, this allowed potters to achieve intense blues that could survive the kiln — from deep midnight tones to luminous, almost electric colour.
Its use travelled across cultures and became inseparable from some of the most celebrated ceramic traditions in China, the Middle East, Japan and Europe.
On this bowl, there is no painted decoration to distract the eye. The colour itself becomes the subject: darker where the glaze gathers, brighter where light moves across the surface.
Then kintsugi introduces a second language.
The 24k gold does not conceal the fractures. It draws across the cobalt, creating a new rhythm and making the history of the object part of its composition.

Cobalt. Fire. Fracture. Gold.

🪄Available now on my website or by DM.

06/10/2026

Why did potters turn a gourd into porcelain?

The double-gourd form has appeared in East Asian ceramics for centuries, transforming a natural silhouette into a vessel with a remarkably distinctive balance: two rounded volumes joined by a narrow waist.

Over time, the shape also acquired auspicious associations, while painted branches and blossoms often followed its curves rather than sitting on the surface like a flat image.
On this vase, the 24k gold kintsugi introduces another line into the composition.
One line belongs to the original decoration.
The other records what happened later.
Together, painted branch and fracture become part of the same visual rhythm — two histories held by one object.

🪄Available now on my website or by DM.

04/10/2026

Entre mes mains, une céramique dont les lignes d’or racontent la réparation.

Le kintsugi nous invite à regarder autrement les objets cassés : leur matière, leurs fractures, et la place que nous choisissons de donner à ces traces.

Le 8 octobre, je vous donne rendez-vous au madd-bordeaux pour « Corps fragiles », une rencontre avec Isabelle Ducassou, conservatrice-restauratrice d’œuvres céramiques.

Nous parlerons de céramique, de restauration et de ces gestes attentifs qui permettent aux objets de poursuivre leur histoire.

📍 madd-bordeaux · 39 rue Bouffard
📅 Jeudi 8 octobre 2026 · 19 h–20 h
🎟️ Gratuit sur réservation — informations sur le site du musée, rubrique Agenda.

Au plaisir de vous y retrouver !

📷 Marion Saupin

02/10/2026

Why do some glazes look almost alive?
Because glaze is not simply a colour applied to clay. During firing, it melts and moves, and its final appearance depends on thickness, temperature, the ceramic body beneath and the way the glaze gathers at edges.
On this bowl, the turquoise shifts into a pale, mineral-looking centre, creating an irregular border that almost resembles a shoreline.
The surface already feels like a landscape before the repair begins.
Kintsugi then introduces another line into that landscape. The 24k gold follows the history of the fracture, turning damage into part of the visual composition rather than hiding it.
Glaze. Clay. Fracture. Gold.
Turquoise Bowl
Traditional urushi kintsugi · 24k gold
Available now on my website or by DM.

30/09/2026

Why are spring and autumn painted on the same bowl?

Momiji — Japanese maple leaves — are one of the great symbols of autumn in Japanese art, while sakura, the cherry blossom, evokes spring and the fleeting nature of beauty.

Yet these two seasons have long appeared together in Japanese visual culture. A 19th-century Kyoto-ware bowl in The Metropolitan Museum of Art also combines cherry blossoms and maple leaves, a pairing the museum connects to spring and autumn imagery in classical waka poetry.

On this bowl, kintsugi adds another layer of time.

The 24k gold repair does not erase what happened to the object. It adds breakage and repair to the seasons already painted on its surface.

One bowl. Several seasons. Several lives.

Momiji & Sakura Bowl
Traditional urushi kintsugi · 24k gold

Available now on my website or by DM.

$Four vessels. Four different histories.One language: gold.Each fracture becomes a line, each repair a new composition — ...$

29/09/2026

Four vessels. Four different histories.
One language: gold.

Each fracture becomes a line, each repair a new composition — transforming these deep blue ceramics into unique pieces through traditional kintsugi and 24k gold.

Not restored to disappear.
Restored to reveal.

Myriam Greff — Kintsugi Artist & Sculptor

Adresse

Les Paris

Téléphone

+33620595019

Site Web

https://kintsugi.fr/, https://kintsugi-shop.com/shop/

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