If a work is to assert its own values and existence, it is necessary that its essential parts be left alone. 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 the container. Obviously for me as a ceramist it is a natural place to start. Metaphorically this concept is one of spatial relationships. Outside, Inside, Boundary. The viewer can imagine the formal qualities of the empty space by experiencing the shape of the border and the so generated volume. For me the container is then formally defined as a kind of folded surface which I perceived as a canvas or a place where painting and sculpture could meet. Through space and time ceramics practitioners use this quality to articulate a décor- geometric, abstract or narrative using of the formal shape of the object as support. The marvelous vases of the antique Grece are well known examples of this principle.
In this first set of polychrome and biomorphic ceramics the coil-built objects grow like organic cells – childlike and colorful- around an imaginary axis. Memory of vessels? Maybe in any case, this language evolved from along lineage of biomorphic forms J. Arp and H. Moore in sculpture; Joan Miro and Yves Tangy in Painting; Ken Price and Ron Nagle in ceramics -all are famous examples of this form structure-.
For me here the color delineates and accentuates formal elements of an otherwise monolithic and heteroclite object. The painted- here glazed- composition devoid narrative intention relates to form relations only.A kind of color composition in space. The color identifies completely with the formal structure hence transcending both structure and narrative of the surface.
Art is a chance at autonomy and gives me a sense of freedom, as form of possibilities.