" I like my creations to be legible. That is why I intentionally leave the mark of the tool used to shape the piece, also creating an interplay of organic textures. The object then becomes a vessel for passing on craftsmanship. "
JÉRÉMY AYMARD
JÉRÉMY AYMARD STUDIO
Cabinetmaker-Designer, Marseille (13)
"With a background in design, I subsequently moved into woodworking, earning a CAP in carpentry from the Compagnons. After 4 years of experience in custom furniture workshops, I decided to go self-employed, dedicating myself exclusively to producing my own creations. Since 2023, I have been designing and crafting unique or limited-edition carved wooden objects and furniture, combining traditional manufacturing techniques with modern technology."
Tell us your story, how did you find your calling?
It is a passion that blossomed little by little, through my experiences.
As a child, I already loved manual activities. I grew up in the countryside, in Saint-Rémy-de-Provence. It was a wonderful playground where I was able to exercise my curiosity, my imagination, and my attraction to "making" things.
Later, I became more specifically interested in woodworking during my design studies at ENSCI. The school has the particularity of bringing together several workshops, including a carpentry one, where I was able to familiarize myself with the machines and develop my sensitivity for wood. As my projects progressed, it became a central material in the creation of my models and prototypes, to the point of becoming my preferred medium.
Subsequently, when I began my carpentry training, I discovered a generation of designers and architects who, like me, had turned to craftsmanship, with a desire to create with their own hands. At that time, I became passionate about the work of Ferréol Babin and Nicholas Shurey. They blazed a trail that allowed me to envision my current practice.
How would you describe your style and your artistic approach in a few words?
My process consists of transforming a raw piece of wood into a functional object imbued with a unique sensibility. As a craftsman and designer, I seek in my creations the balance between these two disciplines. Guided by the authenticity of the gesture and respect for the material, I nonetheless attempt to innovate and experiment through a more contemporary approach. Day after day, I explore gestures, forms, and textures in order to invent a personal language. A universe where geometric compositions and organic manifestations meet.
What themes or subjects inspire you the most in your work?
These are two themes that most people tend to oppose: 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 left a deep impression on me and has since guided me in exploring my own form of expression.
I also have a pronounced taste for sobriety and the concept of wabi-sabi. This Japanese expression refers to an aesthetic and spiritual concept that celebrates the weathering of things and the beauty expressed through the passage of time. In the practice of sculpture, this way of thinking encourages valuing the long creative process and magnifying the imperfections found in the wood. It is a path I strive toward, one that requires going further in letting go.
Finally, I like my creations to be legible. That is why I intentionally leave the imprint of the tool used to shape the piece, which also creates an interplay of organic textures. The object thus becomes a vehicle for transmitting craftsmanship.
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 use traditional woodcarving techniques learned from a professional, applying them within a contemporary approach. 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 to be deepened. I use a CNC machining center to produce forms previously drawn on a computer, which I then work on by hand to give them a sensory character through sculpting. It is a way for me to blend tradition and modernity.
Tell us about your daily life, your constraints, your joys, your successes…
As an artisan and entrepreneur, every new day is different from the last.
For nearly a year, I have been a resident in a 3,000 m2 shared workshop located in Marseille. In this space, I occupy a private area: a 13 m2 shipping container that I have completely fitted out to serve as my workspace. I mostly sculpt there and draw as well, but I also spend many hours at the computer handling, among other things, administration and communication.
In the morning, I arrive at the studio around 7:30 a.m. At that hour, there are not many of us. I enjoy this moment of tranquility that precedes the symphony of machines and the bustling activity within the large shared hall. Recently, this is a time I have reserved for drawing. It allows me to imagine new forms and center myself before tackling all the other tasks of the day.
Afterward, I often take a short moment to chat with other residents over a coffee. We talk about our projects and exchange advice. The advantage of this type of communal space is the ability to regularly meet new people and share our expertise among artisans. This has brought me opportunities that have allowed me to move forward with peace of mind.
Whether within the workshop or at events (exhibitions, pop-ups, etc.), these highly enriching encounters sometimes lead to collaborations. Combining wood with other materials thus opens up new creative horizons for me.
A message to convey, anything else you would like to share?
Craftsmanship is a field that reinvents itself every day thanks to the contribution of new technologies, whether electrical, digital, and now with the addition of AI. I do not believe that artisanal know-how and manual work are destined to disappear. They are instead bound to evolve as they always have, and will continue to provide a field of expression for creators. For my part, I use these new means with the desire to infuse them with a form of sensitivity through hand-shaping.