Author, food stylist and ceramist, Soizic talks today about her new passion, the one of "creating your own tools" through stoneware work, as well as her long experience as a food stylist for publishing houses.
Discover her universe on her portfolio site, as well as her creations on Instagram.
Hello Soizic! Thank you for taking the time to participate in this interview. First of all, could you briefly introduce yourself and tell us what you are currently doing?
Hello ! I am an author and food stylist and I am embarking on a new professional adventure in parallel with my activity.
In order to complete my panel of manual skills, my project is to design and produce ceramic tableware & accessories.
My research and my work increasingly turn to the creation of patterns made from found, recycled or reworked objects.
© Soizic Chomel
After taking ceramics lessons for 2 years, then being in a workshop for 1 year in the heart of Paris, I started training at the Atelier des Arts Céramiques in Tours (North of France).
On one hand, I work with plaster, which is an essential material in the work of ceramists. It is used to produce our molds for stamping or pouring the clay. On the other hand, I am learning modeling techniques.
From the start of my apprenticeship more than 4 years ago, I turned to modeling and put turning aside. Modeling is an exciting universe where the possibilities of shapes, techniques, little tips, decorations are endless.
At first I took classes to create my own tableware for shoots ... and then I finally found my playground and expression!
Tell us a little more about your current profession as a ceramic artist, your workshop, your creations.
I currently work with stoneware and make both utility and decorative products. My research and my work increasingly turn to the creation of patterns made from found, recycled or reworked objects.
I like being able to create my own tools. I do a lot of pottery with my dad by the way. As soon as I go to see my parents, it doesn't take long before I run into the garage where he has his workshop and stocks hundreds of pieces of wood / bamboo… An Ali Baba cave, I love it!
Creating your own tools is one of the fundamental bases of craftsmanship.
My workshop is located in the 18th arrondissement of Paris. After the departure of my teacher Paule Fattaccioli, me and my then 3 “flatmates” rented the place, we are now 7 ! Most of my “roommates” are there on "leisure".
© photo Nicolas Lobbestaël / styling Soizic Chomel for “Gastronogeek” Twean Peaks
It is a very creative and rich environment because everyone has their own approach, their style, their know-how and this results to very constructive and interesting discussions.
To begin with, I find it quite relevant to be in this type of environment.
What attracts you most about ceramics?
To answer your question about what attracts me to this job ... so many things !!!
I give you everything in bulk: to produce something concrete, the craftsmanship of a medium that is both simple and complex, create over and over, produce unique pieces, create your own universe, find yourself on the other side of food styling, discussing with passionate professionals and amateurs… the endless possibilities that this universe brings.
We could do an essay, but I'm going to stop there!
Looking back, during your years as a stylist for publishing houses, what projects did you enjoy the most and why?
Looking back on the styling part, I would say that the most significant projects for me were the realization of the books of the “Gastronogeek” series [ a gastronomic tribute to cult series and cartoons: Harry Potter, Big Bang Theory, Charmed, The Simpsons, Ninja Turtles…].
They were striking on the technical aspect, research, adaptability, shaping, creation, reflection ...
These projects really represent the job of the stylist or “set designer”. These are complete and complex assignments where each reflects a very particular universe to which it was necessary to stick as closely as possible. It was very engaging and stimulating! Especially since in the beginning I didn't know much about this "geek" universe.
Do you have an anecdote to share of these shootings?
Yes, during these shootings there were some incredible moments. I remember ordering a bucket of animal blood at the butcher for the photo of "Dexter", shooting with the author's son on all fours for the "Rugrats ", make a mountain of coal in the studio for" Assasin's Creed "... shoot in the middle of a roundabout on huge stones for" Pocahontas "... I'll stop there, the list could be long!
This is a job where you can also shoot outdoors and thus create opportunities to meet friends / family in cool places for a day, or a weekend, and have them participate in the shoot. Yes, our relatives often play guinea pigs !! (laughs) Both for testing recipes and for making models. It’s a fun part of this job.
© Soizic Chomel
Some photographers work alone, others choose to form the photographer & stylist “couple” from the start. How would you describe the dynamic photographer - stylist, as you have experienced it?
As for the photographer / stylist duo, the close exchange is important for me.
I worked for several years with 2 photographers and I had to work occasionally with photographers that I did not know.
For me, it is essential that there is involvement of each, without being excessive or too intrusive in the work of the other. You have to find the right balance and it is not easy. Again this is very personal, I know others don't work that way. But everyone has their own vision of the image to be produced and we are more productive with 4 eyes and 4 hands.
There is really a work of exchange and complementarity to have.
What are the expectations of publishing houses for a typical shoot in terms of styling?
How to bring up the subject of publishing houses ... this is a question that is not so obvious, because they work in very different ways.
These projects really represent the job of the stylist or “set designer”. These are complete and complex assignments where each reflects a very particular universe to which it was necessary to stick as closely as possible.
© photo Nicolas Lobbestaël / styling Soizic Chomel Gastronogeek Harry Potter
I would say that generally when working for a collection, there is a universe to respect in terms of styling: it can be very refined, “without fabrics”, avoid such or such color ...
These are examples of course. Upstream, there is an exchange work with the editor on the atmosphere that we want to recreate, via a moodboard most of the time. From there an adjustment work is done.
During the shooting, we send the first photos straight away in order to see if something needs to be “fixed”, we adjust if necessary, then we continue production.
I remember when I started out, all photos were validated one by one, then, with time, we get aquainted to the work and requirements of the client and vice-versa, so we gain flexibility and efficiency.
© Soizic Chomel
Eventually, the stylist and photographer also have their own style, so the editors know who to ask for a particular production.
And finally, what is your favorite dish in French cuisine and would it make a good candidate for a shoot?
For my favorite dish, I would say the lamb sweetbreads with morels (ahahahah) not very common! And tell you if that would be a good candidate for a shoot… huuuuummm it could, but I never tried!
I looked for other recipes, telling myself that I was going to give you a wild card, but all the others are just as complex to capture! (laughs)
As I am originally from Lyon, I really like offal and even if I think that a good stylist accompanied by a good photographer would be able to achieve a beautiful setting for this type of dish, they are not the easier!
I look forward to discovering the recipes of the participants of your challenge.
Thank you very much Soizic for this interview!