Ceramic shapes act like a carrier in my work, I search for specific characteristics in this material such as texture, sound and porosity.
In my work I strive for a connection with the observer through space, how we relate to space and how it reaches the purity of perception. Shapes and lines interact with each other through movement, sound, light and shadows, which define space among volume, color and material.
Poetry speaks with words to our imagination, through rhythm, rhyme, lines and verse. With the minimalistic approach in my work, I try to connect to the imagination and personal association through geometry, repetition and recognition. I believe this recognition is connected to purity of form, material and the repetitive nature of both our natural and synthetic environment.
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In 2018, in my graduation year, I came across a definition of beauty, “Character of what induces admiration and emotion, by its forms, its proportions, its rhythms, its harmony” written in the 9th edition of the French Academy’s dictionary. In philosophical, alchemical and mythological texts and poems there is chaos before order, formlessness before form, disharmony before harmony, instability before stability. In Plato’s Timaeus the four elements, water, fire, earth and air, are described as geometric structures, constructed from triangles that can transmutate and shape all matter. Also found in the Pythagorean tetractys, a mystical symbol that represents cosmic harmony expressing itself in seasons, music, the four elements and organisation of space: a point, a line, a plane, a tetrahedron.
According to Heraclitus, harmony and disharmony cannot exist without the other.
In my work I am always searching for some kind of origin, origin of matter, form, process, movement in relation to phenomenology and poetical context. I make kinetic installations where circular movement and shape are fundamental, inspired by natural phenomena and transformation. In Ovid’s Metamorphoses where “all things change, but nothing dies”, humans intertwine with the natural world, turn into animals or return to raw matter.
A particle transforming into a figurative shape, and vice versa, not yet knowing what form it will become lies at the foundation of our natural world and our scientific understanding. A grain of sand, once part of a rock formation, becomes an amorphous mass that can be shaped by water and wind into temporary patterns, briefly revealing the traces of these forces before becoming part of something else. My kinetic sound installation, formlessness, is inspired by the tides of the sea and its processes as a metaphor for time. In this ‘grinding down’, from harmonic to disharmonic, there is tension, there is friction.
In my work this friction is where I find myself, ceramics is a carrier of these processes and the kinetic mechanisms put them in motion, finding its shape and frequency in raw matter and pure sound. There is a fine line between emotional resonance and discomfort.
The contradiction of our natural and artificial environment is a hidden layer within my work. Where our natural environment is in need of humbleness to restore balance. In allegories, humans are depicted as a translation of natural phenomena, a personification that allows us to identify, relate and understand an emotional state. In my work I search for this relatability through mechanised movement, acting as a bridge, as I feel we have an instinctive connection and response to movement, reaching a purity of our perception and awareness, but yet remains contradictory.