MEET THE ARTIST

JEREMY AYMARD

artiste designer jeremy aymard - sculpteur sur bois

"I like my creations to be legible. That's why I deliberately leave the imprint of the tool used to shape the piece, also creating a play of organic textures. The object then becomes a vehicle for transmitting know-how."

JEREMY AYMARD

JEREMY AYMARD'S WORKSHOP

Cabinetmaker-Designer, Marseille (13)

"Trained as a designer, I later turned to woodworking, obtaining my CAP (vocational qualification) in carpentry from the Compagnons du Devoir. After four years of experience in workshops manufacturing custom-made furniture, I decided to become self-employed, dedicating myself exclusively to the creation of my designs. Now, since 2023, I design and create unique or limited-edition sculpted wooden objects and furniture, combining traditional manufacturing techniques with current technologies."

See his Artist pageAll the woodworking

Tell us your story, how did your vocation come to you?

It's a passion that blossomed little by little, through my experiences.

Even as a child, I loved crafts. I grew up in the countryside, in Saint-Rémy-de-Provence. It was a wonderful playground, in which I could develop my curiosity, my imagination and my attraction to “doing”.

Later, I became more specifically interested in woodworking during my design studies at ENSCI. The school is unique in that it houses several workshops, including a carpentry workshop, where I was able to familiarize myself with the machines and develop my appreciation for wood. As my projects progressed, wood became a central material in the creation of my models and prototypes, to the point of becoming my preferred medium.

Later, when I began my carpentry studies, I discovered a generation of designers and architects who, like me, had turned to craftsmanship, driven by a desire to create with their own hands. It was at that time that I became fascinated by the work of Ferréol Babin and Nicholas Shurey. They paved the way for me, allowing me to envision my current practice.

How would you describe your style, your artistic approach, in a few words?

My approach involves transforming a piece of raw wood into a functional object imbued with a unique sensibility. As a craftsman and designer, I seek the balance between these two disciplines in my creations. Guided by the authenticity of the craft and respect for the material, I nevertheless strive to innovate and experiment through a more contemporary approach. Day after day, I explore gestures, forms, and textures to invent a personal language—a universe where geometric compositions and organic expressions converge.

What themes or subjects inspire you most in your work?

These are two themes that most people tend to see as opposing: abstraction and figuration. During an internship at the studio of designer Constance Guisset, I discovered how these two concepts intertwine in each of her projects. This profoundly affected me and has since guided me in exploring my own form of expression.

I also have a strong affinity for simplicity and the concept of wabi-sabi. This Japanese expression refers to an aesthetic and spiritual concept that celebrates the alteration of things and the beauty that emerges through the passage of time. In the practice of sculpture, this way of thinking encourages valuing the extended time required for creation and magnifying the imperfections present in the wood. It is a path I strive for, one that requires a greater sense of letting go.

Finally, I like my creations to be legible. That's why I intentionally leave the imprint of the tool used to shape the piece, creating a play of organic textures. The object then becomes a vehicle for transmitting know-how.

Do you have a particular technique, a specific expertise? Without revealing all your secrets, have you developed your own methods and techniques?

I don't believe I've developed a specific technique. However, I do use traditional woodcarving techniques learned from a professional, applying them within a contemporary framework. I like the idea that the gesture remains the same while adapting to the styles of each era.

Furthermore, I am exploring a method that still needs further development. Using a CNC machining center, I produce forms previously designed on a computer, which I then work by hand to give them a sensory character through sculpture. For me, this is a way of blending tradition and modernity.

Tell us about your daily life, your constraints, your joys, your successes…

As a craftsman and entrepreneur, each new day is different from the previous one.

For almost a year now, I've been living in a 3,000 m² shared workshop in Marseille. There, I have my own private space: a 13 m² shipping container that I've completely converted into my workspace. I sculpt there most of the time, I also draw, but I also spend many hours on the computer handling, among other things, management and communication.

In the morning, I arrive at the workshop around 7:30. At that hour, there aren't many of us. I love this moment of tranquility that precedes the symphony of machines and the flurry of activity within the large shared hall. Recently, I've dedicated this time to drawing. It allows me to imagine new forms and to center myself before tackling all the other tasks of the day.

Afterwards, I often take a little time to chat with other residents over coffee. We talk about our projects, we exchange advice. The advantage of this type of shared space is being able to regularly meet new people and share our skills with other craftspeople. It has brought me opportunities that have allowed me to move forward with confidence.

Whether at the workshop or at events (exhibitions, pop-ups, etc.), these enriching encounters sometimes lead to collaborations. Combining wood with other materials opens up new creative horizons for me.

Do you have a message you'd like to share, or anything else you'd like to say?

Craftsmanship is a field that reinvents itself every day thanks to the contribution of new technologies, from electricity and digital technology to AI. I don't believe that traditional skills and manual labor are doomed to disappear. Rather, they are destined to evolve, as they always have, and will continue to provide a space for creative expression. For my part, I use these new tools with the aim of imbuing them with a certain sensitivity through hand-shaping.

See his Artist pageAll the woodworking

SOME PIECES BY THE ARTIST

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