Eve: I was first trained as a designer—I studied product design at the École Boulle and at ENSCI-Les Ateliers (the French national institute for advanced studies in industrial design), both in Paris.
I started specialising in glass arts first by learning kilncasting as well as glass carving in a parisian glass studio. Then, I joined the CERFAV (European centre for research and training in glass arts), and I perfected my glass-blowing skills under the “Compagnon Verrier Européen” program.
Laurent: I’m a glass-blower coming from a family of ceramicists, and as far as I remember I’ve always been making objects with my hands. Following my training in woodturning and hot glass techniques, I worked over fifteen years at various companies and studios, during which time I acquired a wealth of skills which prove invaluable for creating objects freely.
The years I spent at the Saint-Louis and Lalique crystal glassworks, where the highest quality standards apply, taught me how to produce series of objects with great technical precision. I also picked up special skills working with artisan glassblowers—for instance bubble glass techniques at the Biot glassworks, on the French Riviera. And finally, I familiarised myself with custom production at the International Centre for Glass Arts in Meisenthal (Lorraine), where I was making objects on demand for artists and designers in residence.
How was the Atelier George born?
Eve: In 2012, we got to work together on a project we called “Glass Folds”. I was folding sheets of paper into origami-shaped moulds, and Laurent was using those to blow glass vessels. We had no idea at the time, but this project was actually the start of something much bigger.
intersection between serial production and the creation of singular objects.
Then, we went on to design the Atelier George’s first Interior collection of accent pieces.
What kind of objects do you produce?
E: We make glass tiles, light fittings, and decorative items.
L: No two objects we produce are identical. Each has a unique finish when it comes to its shape or colour, for instance. This is our hallmark, it’s the imprint of our savoir-faire.
How do you work?
E: Together! (laughs)
L: Our activity remains twofold. Beside designing our collections of decorative items, we keep on experimenting with new ways of crafting glass: we call this part of our work the Experimental Studio.
E: We are very interested in digital creation. Digital tools expand the range of things we can do in our studio. For example, they allow us to design our own moulds, or experiment novel ways of working with hot glass.”