Fabienne Christyn builds bridges between sculpture and ceramics. Trained in both disciplines at the Academy of Fine Arts in Namur, the designer offers a very personal view of the porcelain. Between translucency and opacity, smoothness and robustness, porcelain is plural. Like an explorer up the course of a river, Fabienne Christyn likes to discover one by one the many facets of this ancient technique. And to chain parts almost naturally, intuitively, with as much passion and fun as on the first day. To her delight, Fabienne Christyn is far from having explored all the shores of porcelain. Among the unfulfilled desires of the ceramist, the interaction between subjects, gateway to all exchanges, where metal, wood and earth unite in one work. And embark, once again, in a direction unexplored. For this enemy of monotony, the theme imposed by a group exposure or an academy jury never resembles a constraint. On the contrary, here she leaves again for new journeys to the heart of a discipline that has not finished ravishing her. Emerge from her inner world mysterious geodes, elegant domes or subtle porcelain ornaments. The spectator should not seek a utilitarian function; it would be difficult to find. Arouse questioning or, better, rapture is the unique design of the craftswoman. If she were to retain only one word to describe her approach, it would be this link, as fundamental as it is vital. A link between the work and its creator, in a dialogue, sometimes unconscious, whose she alone knows the vocabulary; complicity between parts which interact and unite, links in the same invisible chain. Beyond the interpretations left to the discretion of each one, weaves the thread of the relationship between the artist, her work and her public. To the delight of Fabienne Christyn who, without realizing it, has done useful work. Benoît Goffin - Art historian at the Royal Museum of Mariemont.