Artiste céramiste
Je travaille sur la rédaction d'un texte pour compléter un dossier d'artiste. La recherche est fascinante. Ma production en série fut inspirée par le travail de d'Antony Gormley en particulier la pièce "Le Champ". Maintenant je lis sur le travail des sculpteurs que Gormley admire: Anish Kapoor, Magdalena Abakanowicz, Jannis Kounellis et Brancusi. Deadline le 15 décembre. L'enfer.
February 22, 2010 Dorothy Deschamps
Totem Bowls and Totem Bowl Drawings
“I have always been interested as an artist in how one can somehow look again for that very first moment of creativity where everything is possible and nothing has actually happened. It is a space of becoming.”
Anish Kapoor
During my three year ceramic apprenticeship in Brazil I was immersed in a world of folk art. African voodoo cults fused with European Christian religion produced an amazing assortment of objects and artifacts made from natural and recycled materials. With rudimentary tools for hand building and low temperature wood firings, I welcomed these cross cultural influences and began to make pottery and sculpture imbued with images and forms found in the physical and spiritual world surrounding me. Enveloped in a tropical landscape as artist apprentice I was in a “space of becoming”.[1]
These influences remain firmly grounded in my present-day studio production and research.
The Totem Bowl series is an interplay of container and contained, an interaction between form and function. Bowls are the crux, the matrix and the mold of these architectural constructs. Two bowls joined together become building blocks as spheres and ovals lift into space, precariously stacked one upon another. The vertical and upward movement of the totem is an energetic symbol of magical power and male presence while the roundness and receptivity of the bowl points to nourishment and female energy.
Raku, wood and electric firings are used to create surface finishing. The effects of raku and wood firings suggest the erosion of time. The organic elements of fire, ash and smoke affect color and texture producing surfaces that seem very old, a rough and rugged touch. On the other hand the pieces painted with industrial glaze and fired in an electric kiln produce a sealed skin, a soft and modern feel.
Works on paper are a sounding board able to process ideas that often becoming blue prints for three dimensional pieces. Contrary to the weight and mass of clay and its technology, drawing with brush and ink provide the opportunity to work quickly and spontaneously. The spirit of the work is graced with gesture as the brush moves intuitively across the page. It is “the calligraphic language of becoming”.
Archaic goddess imagery and artifacts, the body as model for form and function, questions of duality and issues of handicraft and traditional studio practice all point towards influencing and shaping my work.
Trois jours intenses! Merci à mes amis qui m'ont aidée à rendre cette vente possible. Il y avait des centaines de petits bols pour faire le bonheur de tous. C'était vraiment la table "heureuse" scintillante et pleine de couleur.
