Biomorphic Color Interactions


Biomorphic Collection


If a work is to assert itsown values and existence, it is necessary that its essential parts be leftalone. The essential parts must then occupy all the space available.

—Donald Judd     on Lee Boutecou Arts Magazine 1965



The starting point of this series as often in my work is thecontainer. Obviously for me as a ceramist it is a natural place to start. Metaphoricallythis concept is one of spatial relationships. Outside, Inside, Boundary. The viewercan imagine the formal qualities of the empty space by experiencing the shape ofthe border and the so generated volume. For me the container is then formallydefined as a kind of folded surface which I perceived as a canvas or a placewhere painting and sculpture could meet. Through space and time ceramicspractitioners use this quality to articulate a décor- geometric, abstract ornarrative using of the formal shape of the object as support. The marvelouspieces of grecque antique are well known examples of this principle.

In this first set of polychrome and biomorphic ceramics the coil-builtobjects grow like organic cells – childlike and colorful- around an imaginaryaxis. Memory of vessels?   Maybe in any case, this language evolved from along lineage of biomorphic forms - J. Arp and H. Moore in sculpture; Joan Miroand Yves Tangy in Painting; Ken Price and Ron Nagle in ceramics -all are famousexamples of this form structure.

For me here the color delineates and accentuates formalelements of an otherwise monolithic and heteroclite object. The painted- hereglazed- composition devoid narrative intention relates to form relations only.A kind of color composition in space. The color identifies completely with theformal structure hence transcending both structure and narrative of thesurface.