Margaux Vié is a French ceramic artist based in Dijon, France. Trained at the Beaux-Arts in Toulouse, she initially developed her artistic practice through photography and graphic design, working for several years in the field of image-making and visual communication.
Her work evolved within a digital environment shaped by the acceleration of networks and the constant circulation of images. Over time, this increasingly dematerialized relationship to creation led her to seek a slower, more physical and instinctive practice. Her encounter with clay marked a decisive shift in her work.
Through ceramics, Margaux Vié has developed a sculptural language centered around modular construction, balance, color and verticality. Her works are composed of assembled and stacked glazed earthenware forms, creating autonomous structures that oscillate between fragility and monumentality, stillness and movement. Alongside her ceramic practice, her background in photography continues to influence the way she approaches forms, surfaces, rhythm and spatial relationships.
Her work has recently been presented in several international contexts, and she was selected for the Guyan Painting Village International Artist Residency in Lishui, China, in 2026.
Visit Margaux Vié’s website and Instagram page.
Featured work
Selected works, 2025-2026
Margaux Vié’s sculptures are composed of stacked and assembled modules. She models, cuts, shapes, assembles and constructs these white earthenware forms through a long meditative process in which thought and intuition guide the making. The contours of the works emerge as much through their voids as through their solids, with multiple elements grafted onto a central axis.
Through a play of balance and verticality, forms rest, slide and interlock with one another to create autonomous assemblages. These structures form the basis of a singular visual language in which each element finds its place within a system in perpetual variation. Each module can be understood as an independent unit; assembled together, they produce forms that interact with one another and construct their own silent syntax.
Color occupies an essential place within this sculptural grammar. It appears in touches, flat areas or softer transitions achieved through low-temperature firing. The stillness of the ensembles resonates with the vibration of the details applied to their surfaces. Before glazing, Margaux develops her palettes through multiple tests on small clay tiles, exploring combinations almost like a puzzle. This research, like the modeling process itself, stems from an intuitive and demanding search for balance, where each relationship between colors is tested, adjusted and almost listened to.
After firing, the sculptures find their continuation outside the studio, through encounters with places, light, bodies and resonances that shift and activate them differently. This encounter becomes an essential stage of the process, as though each piece still called for another form of completion by finding its rightful place elsewhere. Her work asserts a strong sculptural ambition: to create objects that evoke as much as they impose themselves. Presences.
