She made her debut at the Salon d'Automne in 1928, exhibiting alongside the prominent figures of ceramics from her time, such as Paul Beyer, Émile Decoeur, Auguste Delaherche, and Jean Mayodon. With her white enamels speckled with bright colors, she decidedly distanced herself from the austere and meticulous approaches of her predecessors.

At the request of the French state, she created two monumental fountains for the 1937 International Exposition of Art and Techniques, one for the Sèvres pavilion and the other for the Electricity pavilion, as well as a mural for the Artists-Decorators pavilion. However, the war halted her artistic activity. Thanks to the intervention of decorator Jacques Adnet, artistic director of the Compagnie des Arts français, she was able to continue creating.

Close to the abstract painters of the School of Paris, such as Alfred Manessier, Jean Bazaine, Roger Bissière, Vera Pagava, and Elena Vieira da Silva, she sought to simplify her forms, notably through a series of stylized luminous birds that she presented at the Jeanne Bûcher Gallery in 1949. She also explored materials by combining earth with pebbles or shards of glass to create decorative plates inspired by the imagination of Bernard Palissy.

Throughout her career, this artist was greatly influenced by her drawings, guided by a rich and ever-joyful imagination.

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Raisonner