The Brest-born French sculptor intends to offer a new freedom to the materials she manipulates.

She loves unpremeditated interactions that allow her to find inspiration. Unexpected combinations of materials in her sculptures and installations&mdash;glass and cement for &ldquo;Bubbles&rdquo; or wood for &ldquo;Honey Honey&rdquo;, ceramic and rope for &ldquo;Shibari&rdquo;, foam, rubber and wax for &ldquo;Monochrome&rdquo;&mdash;are experiments that open up a new field of possibility. Through her works, Morgane&nbsp;Tschiember&nbsp;studies the very essence of her materials, their density, and their structure; she pushes their&nbsp;physical limitations. For &quot;Dust Devil,&rdquo;&nbsp;which was part of the exhibition &quot;Six Soleils&quot; at Vitry&#39;s Mac Val in 2016,&nbsp;she shaped&nbsp;blown glass balls mixed with powder, creating an object on the verge of breaking. In reaction to the work, astrophysicist Daniel Kunth remarked,&nbsp;&quot;If I had a precise image to show what existed before the Big Bang, it would look like&nbsp;this&quot;.

Tschiember loves to learn and to &quot;understand the rules to stop following them,&quot; she explains. When glass blowers&nbsp;tell her that what she wants them to do&nbsp;is impossible, she decides to figure out how&nbsp;to do the job herself. It is she who welds (&quot;Folded&quot;);&nbsp;it is she who knots;&nbsp;it is she who bakes the ceramic (&quot;Shibari&quot;) and cuts the marble.

&quot;Failures are fundamental in my practice. Creating your own tools generates new gestures and therefore a form of thought that is not predetermined,&quot; Tschiember&nbsp;says.

At the age of four,&nbsp;she had already declared she wanted to become an artist. Her mother gave her copper plates for etching.&nbsp;After observing&nbsp;her difficulties with impressing her work on paper, her father found a way to use an old apple press abandoned in the garage. For her, it was a turning point: &quot;I was fascinated. I love this shift of meaning, this progressive shift of a form, of a function. Use an object by changing its function.&quot;

Later, with her mother, she visited an exhibition at Tokyo Beaubourg and fell in love with Japanese rituals. Her parents gave her a kimono that she insisted&nbsp;on wearing during meals. A few years later, a Japanese gallery invited her to a residence, where she discovered and became&nbsp;fascinated with&nbsp;kinbaku and learned&nbsp;the art of bondage invented by the samurai.

&quot;Most of my works today require rituals,&quot; Tschiember&nbsp;states. When a collector buys one of her works, the artist asks them to take a picture with her on the spot. When she creates a work of marble watered with wine, she likes to think that her buyer will have to choose a time of the year to renew this gesture: for her, the object starts a&nbsp;dialogue.&nbsp;The trips, the dialogues, and above all&nbsp;the meetings are most important to her.

Tschiember shared her first studio with Olivier Mosset and has collaborated with artists like Douglas Gordon and John M. Armleder: &quot;When you meet a person, it&#39;s like meeting time, stacked time.&quot; The&nbsp;Monte Altissimo, where Michelangelo recovered marble&nbsp;in Tuscany, is the site of her next project, in which we can already imagine that she will&nbsp;challenge the elements in a manner as powerful as it is unexpected.

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Photography:&nbsp;Spela Kasal 
Styling: Vanessa Bellugeon

Morgane Tschiember Finds Inspiration in the Unexpected

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