French ceramicist Lisa Maïofiss blends traditional craftsmanship with contemporary design by incorporating unique textural elements and the ancient rope jar technique into her handmade ceramic pieces.
In January, we met French ceramicist Lisa Maïofiss at the Maison&Objet design fair in Paris, where she showcased her stunning collection of handmade decorative pieces and small furniture. She has been exhibiting at Maison&Objet for only 2.5 years, yet it has already become a significant source of revenue and exposure for her work. Her expertise and beautiful craftsmanship have been recognized by Francois Delclaux, who selected one of her pieces for the “What’s New in Retail?” section at the fair.
Her creations denote a unique approach to textures and forms and the spontaneity of her methods. She often incorporates deliberate imperfections, emphasizing the expressive power of the hand’s imprint. Collections such as Terracotta and Terrablanca exemplified this philosophy, featuring textured surfaces reminiscent of Mediterranean landscapes and historical motifs reimagined for contemporary interiors. Her work resonates with audiences by integrating elements like chamotte clay’s earthy grains, asymmetrical handles, and vibrant, calligraphy-like color applications.
A significant element of her work is the use of ropes, which she creatively integrates into her pieces. Maïofiss recently began employing an old technique known as the rope jar technique for furniture making. We had a chat with the ceramicist at her booth during Maison&Objet. Here’s what she had to say about her work.


ArchiExpo e-Magazine: What inspired your transition into ceramics over ten years ago, and how has your artistic approach evolved since then?
Lisa Maïofiss: I discovered ceramics around 20 years ago, but I have been practicing professionally for over 13 years. The moment I first touched clay, it was an instant connection—a true revelation. Over time, my approach has evolved from making utilitarian objects to focusing on more sculptural and decorative pieces that align with my passion for interior design and architecture.
ArchiExpo e-Magazine: How has participating in events like Maison&Objet impacted your visibility and growth as an artist?
Lisa Maïofiss: Maison&Objet has been instrumental in my growth, providing me with opportunities to connect with professionals from around the world. The fair allows me to showcase my work to a global audience, fostering collaborations with interior designers and architects that I wouldn’t have encountered otherwise. It’s a vital platform that brings my creations into new and exciting spaces.


ArchiExpo e-Magazine: What drew you to work with chamotte clay, and how does it influence the aesthetic of your pieces?
Lisa Maïofiss: Chamotte clay is an essential component of my work. The small grains in the clay provide a raw, textured finish, which I find fascinating. When fired, the Terracotta clay reveals its true character, with hints of salt and lime that emerge, giving the pieces a feeling of breath, much like antique vases and adding depth and uniqueness to each piece.
ArchiExpo e-Magazine: How do the inherent properties of porcelain, earthenware, and stoneware shape your creative process?
Lisa Maïofiss: Each material offers distinct characteristics that influence my creative approach. Porcelain, with its smooth and refined quality, allows for delicate detailing, while earthenware provides a more rustic and approachable texture. Stoneware, particularly chamotte-infused, grants a robust and earthy quality that resonates with my tactile and textural explorations.


ArchiExpo e-Magazine: Can you elaborate on the techniques you use to achieve the textured effects and vibrant calligraphy-like finishes on your ceramics?
Lisa Maïofiss: I achieve these textures through a combination of hand-texturing and careful glazing techniques. I often scratch and incise lines onto the surface, creating a dynamic interplay of textures. My glazing process is inspired by calligraphy; I apply it in an intuitive, almost random fashion, which gives each piece a unique and spontaneous character.
ArchiExpo e-Magazine: Can you tell us about the coffee table? Is this a new piece?
Lisa Maïofiss: The coffee table I recently made uses the rope jar technique. It’s an old technique that’s not very widely used, coming from the south of France, that allow to construct large pieces. I build a wooden frame and wrap a rope around the frame. Then I put my clay on the surface of the rope. Once it’s dried a little, I remove the frame and the rope. If you turn the piece over, you can see the traces of the rope inside. It joins my other pieces through the concept of integrating rope. This is the process of making the table leg.
This coffee table comes with a chiseled wooden top. I worked with Barnabé Richard, a woodworker. But I wanted to offer several tops, so that the table could be adapted to suit the interior decor. For a long time I’d wanted to make a rope tray top, so that there’d be a link, a reminder of how the table base itself was made. I’m also proposing another tray, in earthenware, with a rope snaking around it and a knot (I’m very fond of knots and ropes!), for which I was inspired by the ropes and knots of Japanese temples.
ArchiExpo e-Magazine: How do you balance spontaneity and control when incorporating deliberate imperfections into your designs?
Lisa Maïofiss: It’s about finding harmony between the natural tendencies of the materials and my artistic vision. I allow the clay to guide me, embracing unexpected outcomes while maintaining a clear design direction. I enjoy the challenge of working within constraints and using them to push my creativity further.


