Her French career began in 1952 after meeting decorator André Arbus at the home of painter Guido Cadorin in Venice. This decisive encounter led her to participate in the construction of the ocean liner Bretagne, for which she created a large stone altar for the ship's chapel.
Establishing her workshop on Avenue du Maine in Paris, she became Arbus's preferred practitioner, executing decorative elements that he incorporated into his furniture designs. Their collaboration extended to prestigious projects, from major official commissions such as the decoration of the transatlantic liners Vietnam (1952) and Pasteur (1961), to private commissions such as the Jean-Marie Terrin villa in Aix-en-Provence (1955).
His style is characterized by the creation of monumental panels in pink Chassagne breccia stone, adorned with decorations inspired by ancient myths and treated in the spirit of neo-Assyrian bas-reliefs. This ancient inspiration allows him to produce some of the best modern interpretations of Greco-Roman myths.
With a perfect mastery of ancient statuary, she renewed its representation through various materials: marble, limestone, lead, plaster, clay, and bronze. The "Centaur," dating from 1961, illustrates this major ensemble that spans her entire artistic career. In 1955, she designed the long frieze of the Viking epic for the Grand Salon of the Palais des Consuls at the Rouen Chamber of Commerce.
Her ink drawings also demonstrate the fluidity and spontaneity of her style, complementing a sculptural oeuvre of rare quality that makes her a leading figure in 20th-century Franco-Italian decorative art.
