Elisa Uberti is a designer and artist living in France. She creates hand-built sculptures that invite contemplation through forms that are both organic and architectural. Her refined approach draws inspiration from nature, tribal and vernacular art traditions, architecture, and the concept of dwelling as a form of protection. Through her work, she seeks to create symbolic inner spaces, like refuges.
What was the inspiration for your Steinbeisser pieces?
Nature plays an essential role in both my work and my sources of inspiration. For this project, I drew inspiration from ancestral traditions in which food is served or shared on leaves. This idea contrasts with the straight lines and marks left by the tools used to cut the wood. Through these pieces, I sought to create a dialogue between tradition and modernity, between free-flowing forms and a more raw, structured geometry.
Describe your work in 3 words!
Minimalist. Sensitive. Personal.
What kind of materials do you use and where do you get them from?
I use upcycled wood that comes from France.
Which conscious lifestyle choices are you making and are you considering any new ones?
I’m very conscious of overconsumption, and as a result I’ve been reflecting on my own past in the fashion industry. That’s why I try to create timeless pieces. I prioritise sustainable, practical and second-hand purchases. I also hate food waste, so I’m careful about what I consume to ensure I throw away as little as possible. I try to reuse as much packaging as possible to minimise waste and plastic, but I’d like to improve in this area even further, which isn’t easy, as ceramics are a fragile material.
What have you rebelled against in the past and what are you rebelling against now?
In the past, I have rebelled against the logic of overconsumption and mass production, particularly the constant flow of disposable objects made from plastic that are designed to be used briefly and then discarded. This culture of excess and immediacy has always felt out of balance to me, both environmentally and emotionally. Today, this resistance continues through a broader awareness of waste management and the visible impact of discarded materials in everyday environments, especially in my own city, where illegal dumping and abandoned waste have become increasingly present. I am also sensitive to the way we relate to living beings in systems of consumption, particularly in the context of meat production. Through my work, I try to move away from these cycles by valuing slower processes, handcraft, and the transformation of existing materials, giving them new life and meaning rather than contributing to further accumulation.