Starting from a series of thrown vases on the pottery wheel, she subtly pushes, pinches, pulls, dents and folds the wet and soft clay with her fingers. Thrown and deformed parts are assembled together. The essence of clay and the traces of movement are hypostasized into solid form.
This result in amorphous objects have a sensuality that stresses the ample suppleness of clay, in sculptures that exploits the tension between volume and skin, between texture and color.
The clouds by my fingers are unique objects made of clay. What could be a greater paradox than representing the vaporous lightness of a cloud with solid and compact clay ? Staring point is a group of vessels made of Belgian Clay thrown on the wheel then all altered in different ways using hand and fingers and assembled into a unique piece, modeling the thrown clay walls..
I do employ a serial work-process, throwing archetypical forms on the wheel.
Yet, the plasticity of the material invites me to go beyond the thrown wall.
To meet the sensual involvement with the material I test and explore its physical boundaries.
After altering a series of forms I do assemble them to create an organic abstraction as an open invitation to feel the constraint tension, to discover the vivacity and the altered touch.
Belgian clay thrown on the wheel and altered. I liken the outer clay walls of my vessels to skin. The wrinkled skin-liked sides to the vessels are typical of the Clay-e-motion pieces: using the playful action of my fingers against the soft, still wet, thrown clay to change the form entirely, upending it so that the opening and base are almost in rotation, still moving despite it being a fired static piece...