Carole Serny is an engraver goldsmith. It produces pieces intended for decoration, tableware or interior design. Carole Serny’s activity is multiple depending on the needs and opportunities of the sponsors, but she makes, always by hand, objects with a supplement of audacity, spirit and a nature apart.
There is a part of latency in my creation phase and then, afterwards, with sketches, with drawing, there is a work of graphic research. In general, the solution imposes itself a bit on its own, it is something that emerges.
Carole Serny, engraver goldsmith.
” I couldn’t particularly find a name that represents everything I want to say and then how it’s linked to my story and a personal desire. Finally, I stayed on my name. »
Carole Serny, after her training as a goldsmith, worked for about ten years in the field of product design, working in the contemporary furniture sector. It’s only been three years since she returned to chasing. A technique without material removal, carving is decoration made of strokes and sunken surfaces.
Unique pieces, figurative representations
Carole Serny likes to work on unique pieces, to chisel on solid silver, brass or bronze.
“ These are objects that I would like them to remain everyday objects, which can be used day by day but which will have a little extra soul, a strength or a separate identity. I work a lot on the patterns in the decor part. A decor that will take the viewer or the owner of the object on a journey. Each time, there is a meaning, we see representations there, we are on figuration. It can be clouds, waves, smoke, but it is a representation that tends towards abstraction. I like that people can project a lot of things onto objects. »
Traditional technique and modern philosophy
Carole Serny is passionate about her job. She combines a traditional know-how with technical curiosity and contemporary aesthetics.
“ It is know-how that is hard to perpetuate because there are few applications. I think sometimes we don’t dare because we are afraid of doing wrong. You have to push open doors or finally appropriate skills that are a bit moribund and then apply them to something else. I think it’s a revival, and it’s more interesting than letting it die out because we wanted to respect tradition. If there is love for technique, for the type of rendering, you have to go for it. If we stay in a classic traditional world of goldsmithing, there are still many activities, but we have no new outlets, and if we want to renew the technique a little bit and go further and have fun, we have to get out », concludes Carol Serny.
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