Atelier Kintsugi

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Atelier Kintsugi 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

Why did cobalt blue become one of the most enduring colours in ceramic history?Part of the answer lies in fire.Cobalt is...
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.

Why did potters turn a gourd into porcelain?The double-gourd form has appeared in East Asian ceramics for centuries, tra...
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.

Entre mes mains, une céramique dont les lignes d’or racontent la réparation.Le kintsugi nous invite à regarder autrement...
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

Why do some glazes look almost alive?Because glaze is not simply a colour applied to clay. During firing, it melts and m...
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.

Why are spring and autumn painted on the same bowl?Momiji — Japanese maple leaves — are one of the great symbols of autu...
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

Gold branches among autumn leaves. 🍁Red and green maple leaves unfold across the ivory crackle glaze of this small bowl....
28/09/2026

Gold branches among autumn leaves. 🍁

Red and green maple leaves unfold across the ivory crackle glaze of this small bowl. Between them, golden seams form new branches, echoing the painted decoration.

I restored this piece using traditional kintsugi, with natural urushi lacquer and pure 24k gold. Each line follows a fracture, adding another layer to the landscape already present on the ceramic.

The leaves evoke the changing seasons; the gold marks a new chapter in the bowl’s life. Together, they speak of time, transformation and renewal.

A unique piece, accompanied by a certificate of authenticity.
Ø 11 cm · Height 6 cm

Link in bio

23/09/2026

Some fractures deserve to remain visible.

In this chawan, every line of 24k gold follows what once broke — not to disguise it, but to make it part of the work.

A new form, shaped by its own history.

Original kintsugi works available for acquisition.
Discover the collection → link in bio

Myriam Greff

21/09/2026

It’s time to live again.

Kintsugi is not about returning to what was.
It is about giving a broken object a new existence — one where its fractures are no longer hidden, but revealed in gold.

Original kintsugi works available for acquisition.
Discover the collection → link in bio

Myriam Greff

19/09/2026

It’s time to live again.

Kintsugi does not restore the past.
It gives the broken object another life — one in which its fractures become part of its identity.

Gold does not hide what happened.
It reveals it.

This piece and other original kintsugi works are available for acquisition.
→ Link in bio

Myriam Greff — Kintsugi

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