Laureline Galliot

In the field of product design, Laureline Galliot’s practice does fit in line with a new form of craft emerging in the digital age. She has committed herself to translating the forms and ornamental vocabulary that were frozen in a certain time, by freeing and updating them through the new tools and technologies she has learned to harness.

Historically, revisiting the decorations and ornaments of past centuries has been a permanent feature among artists and decorators. Laureline Galliot metabolises these ancient gestures resulting from artisanal methods through copy, in order to eventually hybridise them. She thus succeeds in the improbable fusion of painting, one of her parallel activities, and design, through the use of digital tools sometimes diverted from their initial function.

After training as a colourist in textile design at the Olivier de Serres – École nationale supérieure des arts appliqués et des métiers d’art (National Higher Education School in Applied Arts and Crafts), then in product design at ENSCI – Les Ateliers, the designer has developed the guidelines for her own practice. In particular, she has identified that the use of colours is not very varied and not very present in the world of product design, and has been trying to fix it.

In line with the artists she studies and immerses herself in, Laureline Galliot takes up the absence of hierarchies in art: what is at stake no longer is a question of major and minor arts, it rather implies going back to the freedom advocated before her by Koloman Moser or Sonia Delaunay.

Raphaèle Billé

Historian of decorative arts and a specialist in French design. Curatorial assistant at the Musée des arts décoratifs (Museum of Decorative Arts) in Paris, she has collaborated on several exhibitions including Travaux de dames? (2017) and Moderne Maharajah. Un mécène des années 1930 (2019) as an associate curator.