The recent works on clay remind me of Pompei, shadows covered in ash, fossilized in their daily occupation. A snapshot. The way they turned out was not entirely predictable. It never stops to fascinate me.
They are moderately enigmatic, but depictive enough to permit the viewer's projection. This is a sympathetic balance, and so we enjoy a discretion toward character and reader at the same time, which is quite Jamesian. Not that you'd have seen it that way, possibly.
Il y a des figures qu'on devine, ça vaudrait le coup de les toucher et de les voir "en vrai". Pompei, oui et aussi Kiefer pour les éclats de sables. Je ne me lasse pas de vous dire que je les trouve très belles ces nouvelles poteries !
Le fait est Valery que les photographies ne sauraient rendre leur poids, et leur presence aussi. Vous avez raison, il faut les toucher.
Le dessin qui semble s'etre fondu dans la masse, c'est un accident du a la cuisson. La poterie, c'est presque aussi vieux que l'homme et pourtant si mysterieux encore. Sans mauvais jeu de mots, quand on commence, on est cuit.
Not a mauvais jeu at all, explaining much. Now the commentary expands the exhumation of the image to imagine the hefting of its vestigial presence, if one does not misunderstand these implications; in any case the sense of accident is so compatible with one of intervening [volcanic] shock, as Voltaire remarked on the Lisbon Earthquake, as to amplify the urge to retrieve.
For a guy who runs around knocking into accidents anyone would envy to haul in buckets into his own viewfinder or hands, this is pretty ordinary stuff. For the rest of us it could launch a reputation. :)
The recent works on clay remind me of Pompei, shadows covered in ash, fossilized in their daily occupation. A snapshot. The way they turned out was not entirely predictable. It never stops to fascinate me.
8 comments:
I think they are beautiful and what you say about them is so true.
They are moderately enigmatic, but depictive enough to permit the viewer's projection. This is a sympathetic balance, and so we enjoy a discretion toward character and reader at the same time, which is quite Jamesian. Not that you'd have seen it that way, possibly.
u r always perfect.
bom natal
kiss
ANTONIO
Il y a des figures qu'on devine, ça vaudrait le coup de les toucher et de les voir "en vrai". Pompei, oui et aussi Kiefer pour les éclats de sables.
Je ne me lasse pas de vous dire que je les trouve très belles ces nouvelles poteries !
Le fait est Valery que les photographies ne sauraient rendre leur poids, et leur presence aussi. Vous avez raison, il faut les toucher.
Le dessin qui semble s'etre fondu dans la masse, c'est un accident du a la cuisson. La poterie, c'est presque aussi vieux que l'homme et pourtant si mysterieux encore. Sans mauvais jeu de mots, quand on commence, on est cuit.
Not a mauvais jeu at all, explaining much. Now the commentary expands the exhumation of the image to imagine the hefting of its vestigial presence, if one does not misunderstand these implications; in any case the sense of accident is so compatible with one of intervening [volcanic] shock, as Voltaire remarked on the Lisbon Earthquake, as to amplify the urge to retrieve.
For a guy who runs around knocking into accidents anyone would envy to haul in buckets into his own viewfinder or hands, this is pretty ordinary stuff. For the rest of us it could launch a reputation. :)
Always beautiful posts- I look forward to more. Best Wishes into the New Year 2011!
in ceramics there are no guarantees. I suspect that could be true in photography as well - maybe in the days of film.
Looking forward to more from you this year!
happy new year!
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