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At the end of the 1940s, Jacques Pouchain left Paris and interrupts his training as an architect to devote himself to art in the south of France. He settles his ceramic studio in Dieulefit where he creates a personal work, essentially an utilitarian production. His way of applying white enamel on a manganese oxide which enhance an engraved décor is close to anglo-saxon practice from the 1950s. During the 1960s, he addresses abstraction before to develop the feminity and fertility themes during the 1970s.
