Matter and Soul
Working with clay means going back to the beginning of civilisation, immersing oneself into matter to give shape to myths both ancient and new.
Origin stories tell of how the gods created human beings by kneading earth and water.
The elements of this ceremony allow performers to articulate multiple meanings, conveying these by generating a layered, yet immediate, message.
“Matter is an exceptional tool that gives us the opportunity to know ourselves through unpredictable paths.”
Chaos and focused intention are intertwined in these works, like a Japanese koan made of textures, irregular shapes, colours, and asymmetry. Untamed by calculation, chaos manifests itself as a different kind of order, participating explicitly in every single gesture.
In the kurinuki technique of some of these works, we can identify a search for movement and this makes every visual angle unique.
Strong, yet irregular, brushstrokes, like the cuts, represent traces of an acceptance which the artist does not shy away from, a lyrical allegory of change.
This becomes evident with the series on scars: juxtaposing bare ceramics with enamel evokes bone and muscle tissues, where deep fissures gush with great force.
Forms and surfaces are freed from an idealised imagery, a clear rejection of any attempt to offer a sanitised or prescriptive experience. Instead, what we are witnessing is a journey toward a neo-humanist aesthetic, a dreamlike and primaeval language that celebrates diversity, a gateway to let the imagination of the viewer flow freely. Here is an opening, a passage... the intimate space for the Soul to thrive and be what it has always been: a medium between the world of physical objects and their intangible meaning.