It is the exhange of energy within the making and transforming of materials (wood, clay, water etc.) that interests me in my work as a ceramisist, This is as much the case for classical production as for personal creation. It is a fundamental truth that “all energy creates its oposite”.
I sincerely believe that ceramic work is based on this fact and is submitted to this opposition of energies.
“One particular quality of the clay is its ability to keep and to express what its entrusted”.
The Cosmopolitan ( pseudonym of Alexander Sethon, Scottish alchemist. Died 1603).
“Memory makes a bridge between the pats and the future”
“The gesture does not recall the technique”.
Gérard Gendrau (French digital/video artist)
I am very careful and conscientious about the finish of my pieces. Nothing should disturb the user, regardless of the use he makes of the object, in thought or in practice. I never impose the expression of my personal, or private, story on my ceramic pieces, so as to leave the viewer complete freedom to live their own experience: to be reflected with their own story, that they carry with them, based on use or contemplation of the piece.
Through the creation of my pieces, I share with them an experience which I would describe as both spontaneous and intuitive. This experience permeates me and is mine for an ephemeral moment, much as the water in a still wet piece belongs to the work in progress only until it evaporates. In a process similar to homeopathic tracing, a fragment of that symbolic memory will remain acessible to the person who understands how to look for it and has the curiosity to do so.
Spontaneity is a profond experience, lived or observed from within, far from the clichéd idea that it is a prerequisite of quality in creation. Spontaneity is not something that you do with your hands, it is an inner exoerience. Yet the fact that it is construed as a necessity, something I saw in France during the 1980s and 1990s, seems to have caused permanent confusion between personal – even intimate – experience end communication with a large public, as for example the firing of large traditional kilns turning into ‘barbecue shows’. To my eyes it is not interesting to exhibit the private in public. After all, is it not what happens in the kiln that is important?
I was led to pottery by fire. In a potter’s kiln, fire is not a destructive element: it can bring meaning through the transformation of materials. It is certainly exiting and there is a sense of purification transcending the personal state, a kind of magic for the soul. But concerning the pots, the way to obtain certain desired results is through the fire. ‘The accident of fire’ (yohan. In Japanese) is in some way encouraged and cultivated in the Yakishime firing.
The raw piece is neither portable nor functional, without firing there can be no communication through the ceramic object. A successful ceramic piece is one which sincerity is expressed at every stage, in each phase of its creation. The aesthetic is of no importance in connection with their inner logic. In this context, The Catalan, Claudi Cassanovas is a ceramist whom I consider to be “magnificient”.