Based in the south of France, Muriel turned to ceramic sculpture in 2013, which she studied as an autodidact. “Something happened with ceramics,” she says, an encounter that causes a break in her trajectory. She finds in the work of the earth (mainly sandstone or more rarely porcelain) a medium of predilection to approach a research in volume able to translate the syncretism of man with nature. If this medium commits the artist to a new gestural and bodily approach, the major themes that irrigated his painting are still present: the living, death as a "crossing", the elements as a space for the metamorphosis of bodies. With the aquatic theme that she explores more and more in sculptural and coral pieces, Muriel returns to an aesthetic dear to the Romantics and Symbolists. Associated with the "passage" - between life and death, the real and the imaginary, the universal and the intimate self - water then translates the marvelous territory where the deep self is probed against the determinism and scientism of the 19th century.