Kimy Gringoire (KG): Yes, very much so.

From the beginning, my work has been about sacralizing objects. My earliest jewelry pieces were formerly very simple, almost reduced to essentials, but they carried a strong narrative weight unveiled whenever you want, due to a very subtle mechanism inside each piece. They were conceived as gestures: objects meant to mark moments, transitions, offerings. Jewelry, by nature, already contains something sacred. It is given, received — worn close to the body, often loaded with emotion or memory.

Looking back, I realize that this impulse has never left me. What has changed is the scale and the medium. With Sacralization of Light, I am doing something very similar: I am no longer sacralizing the body through jewelry, but sacralizing light itself. I try to ensure that my objects are not only commercial artifacts, but moments of celebration of care, of intention, of meaning.

There is a clear continuity between my early jewelry and my current work: a persistent desire to elevate the everyday by sacralizing emotion through the object.

KG: Love is central, when I think about it, but not in a naïve or decorative sense. I’m interested in love as a force, something that circulates, connects, wounds, heals but also hurts. The Love Cable embodies this idea of flow: love as something that moves through space, leaves traces, creates tension or softness depending on how it travels.

There is also a strong connection to union, roots, and the invisible bonds between people and places.

With Sacralization of Light, love expands into something almost spiritual, an affection for light itself, for what is unseen but deeply felt. In a world that feels increasingly unstable, I feel an urge to create objects that are almost divinatory, that reintroduce care, slowness, and reverence.

More recently, my practice has moved closer to craft and material intelligence. Working with blown glass, stained glass, ceramics, fire, water, air; I’m fascinated by what happens when human hands collaborate with natural elements. When craft aligns with nature, something deeply moving emerges. That dialogue has become part of my work.

KG: I am a very sensitive and intuitive person, and my work is deeply nourished by the environments I move through. Emotion has always been at the core of my practice, and that comes from constantly absorbing places, cultures, and energies, from growing up in Belgium, to living in Mexico and London, and frequently returning to Korea. This is why my work often carries more universal messages, such as BigLoveCables, centered around ideas of connection, flow, and the invisible links that shape us.

At different moments, my surroundings have directly influenced my forms: working alongside a tattoo artist led me to jewelry that could be opened and engraved, almost as if the object itself were being tattooed; later, being immersed in an architectural environment gave rise to my Foyer collection, where jewelry began to echo structure and space. Over time, I’ve come to understand my practice as one of exchange — giving and receiving — and to approach my environment with greater humility.

It is this openness that made Sacralization of Light possible: a project born entirely from encounters, shared knowledge, and dialogue with artisans, which ultimately shaped the exhibition itself by nourishing it.

KG: Today, home is very simple.
 Home is where my child is.

My son Rio is four, and for me, home is wherever we are together. It’s a feeling of proximity, safety, and imagination. I also believe that the meaning of home evolves throughout life. At this stage, it’s less about a physical place and more about a state of being: one that allows tenderness, creativity, and presence.

KG: There are several moments, and they have evolved over time.

At first, what excites me most is building the narrative: understanding what I want to say, which emotion or ritual I want to create, and then translating that intention into form.

More recently, especially with Sacralization of Light, another kind of joy has emerged: a very physical one. Seeing materials transform in my hands, glass melting, metal bending, ceramics firing, and sensing the precise moment when matter resists and then gives.

What I’ve grown to love most, however, are the almost meditative moments within production, where each gesture becomes the consequence of the previous one and conditions the next. This way of working was new to me. It introduced a different relationship to time: one that is slower, more attentive, almost ritualistic. In contrast to my earlier practice as a designer, this process has taught me to sacralize time itself, dedicating it fully to the act of making.

Here’s a small personal selection of things from around the world that I’m excited about right now.

One film that truly touched me is Arco, a French animated feature. It’s a beautifully imagined sci-fi tale, gentle and hopeful, offering another vision of our world and its future through innocent, luminous drawings. The artwork carries a rare softness, like a warm breath of light.

“Arco” (2025), Directed by Ugo Bienvenu
France

WATCH NOW

Living here, culture feels everywhere; in the food, the nature, the rituals, the traditions. I think of fire as an energy, of intense spices, of lime squeezed into everything: from the water you drink to the tacos you eat. It’s a culture that awakens the senses: vibrant, grounded, and deeply alive.

Age Salajõe, I’d love to see your selects as the next Artist Contributor for Sphaera.

Age Salajõe is a gallerist and cultural strategist based in Mexico City. She is the co-founder and director of MASA, a gallery working at the intersection of contemporary art and collectible design, collaborating with an international roster of artists and designers while fostering dialogue across disciplines.

— Kimy

Each edition of Sphaera alternates between a story or interview from a respected journalist drawn from the worlds of art, film, fashion, photography, publishing, music or design and a handpicked Artist curating his/her Artist Selects to spotlight peers, legends, and up and comers.