After training in a minting company and patient practice in imagining three-dimensional shapes while perceiving the sculpture in the making within the material; after alternating between repeated failures and beautiful hopes, she finally mastered this ornamental art, turning her passion into a profession. Seated at her workbench, the artist designs the volutes and other motifs on the Swiss watch movement bridges herself, using a pencil, all freehand, a technique requiring perfect mastery of volumes and shapes. Using a sharp-tipped graver she marks the component before removing material around the floral motifs so as to add relief. The flowers appear to emerge from the previous metal like bas relief sculptures. That is however not enough to embellish a Swiss watch movement Fleurier-style: the background must also be finely chased, dot by dot,