Back to nature [Mixt]
The only thing I am sure of is, that I love it and I cannot imagine myself doing anything else for a living. Now I am drawn to ceramics, miniatures, to experimenting with different materials, these are the things that interest, surround and define me.
I still have a lot to learn, to experiment, to develop as I have only started to work with ceramics three years ago. Nevertheless I fell that I am progressing...because it is good, because it is beautiful...because there is no, and cannot be any other way...
Why do I do ceramic objects, sculptures? I love in the same time drawing, painting, sculpture and the transformation through fire, like magic. For me it was a great decision to study at ceramic high school but now I realize that was a good choose.
There are million ways of expression in various materials like clay, terra cotta, porcelain, even if it makes only decorative objects or little sculptures, with minimal or major charge. I have two obsessions like any artist, one of them is the major idea of life, the duality and the other one is a minor idea, the cube or the enigmatic closed box. The duality followed the man all his life, benefic/malefic, angelic/demonic, good/bad, pacifist/warrior, truthful/liar and I can continue the enumeration. You have the possibility to watch my works named Duality, released in various forms, looking through the photos on this site. On the other hand the closed boxes group are an older preoccupation of mine since my childhood.
All the time I was fascinated by closed boxes accompanied by the eternal question, what is inside? .The magic is short because the curiosity dissolve it quickly, but I stop or try to stop the magic moment of curiosity through my forever closed boxes.
From the beginning of my career, I was interested in the psycho-social implications of structuralizing, modulating and modeling in artistic ceramics and in ceramics design. I wavered between glass and ceramics, being interested in conducting light through shape, but I chose ceramics because I began to use mimesis in my works, to make my ideas more accessible and to grow the social impact of my creation. The viewer may touch the shapes to feel differences between textures, but they can also change the places of the elements to make another installation.
When I have ideas, I feel free from constraints and I try to structure the reality according to my creativity and interior freedom. I wish to challenge the creativity and the spiritual liberty of the art customer through visual and tactile methods, and through ideas. Along these lines, I successfully experimented with art therapy using my creations with the help of psychiatrists and psychologists. The goal of my challenge is to raise the viewer to the level of understanding the message contained in the art pieces and to grow the spiritual liberty.
The content that I wish to transmit to the consumer can be classified into two directions:
Accuracy of the crystal shapes of the material on the highest abstract level (present in the living cell). In addition, I use the sign, the letter, and the configuration as ways of expression, ubiquitous in the society through the Gutenberg Galaxy.
My figurative sculptural ceramics is based on the theme of human destiny. I approach with irony, sympathy, but also with severity, the answers given by humans to their own questions and problems.
Ceramics pottery is a godlike craftsmanship. By kneading clay and water, I conceive shapes whichs are left behind once materialized. The fire pours life in them but them , the dream starts tormenting me and I knead the clay again while the fire keeps burning and the newly born works populate the world becoming my certificate of existence.
I’m lucky, because ceramics isn’t just a work for me, but also a hobby. The ceramic art has many tehniques and offers lots of possibilities to comunicate trough the objects created by me, to anyone that looks and uses my works. It isn’t easy to create something of value in this hurried life, but I must try.
I’d like if everyday life would be better... I create objects which can be used everyday by their owner. If we are sorrounded by beautiful things, which are in harmony with our temperament, maybe our day starts easyer and ends with good dreams.
I would be happy to know, that my creations help people.
I like to think that the clay has chosen me to shape it in order to get to our final work, our endless relater.
My training in the field of stoneware started in 1999 with the clay and the pottery wheel, which was followed seven years later by exploring and understanding a larger area of art and history in the universe of ceramics.
I follow themes related to our human nature, society and I would like to bring the shapes and forms I create closer to the elements of nature, my greatest inspiration.
Should I synthesise in a few paragraphs my artistic credo, my convictions regarding the artistic act, I believe that this territory surely has no fronteers, not only between the visual art fields, but between the visual arts and all the other artistic types: music, film, animation or the art of words - written or articulated by sounds.
The opinion that a strict specialization guarantees a special and unique performance in a certain area, or that the arts of painting, sculpture or graphics cannot or may not step into each other’s territory or together into the space reserved to the decorative arts - ceramics, glass, metal, textiles or design – that opinion has been classified as a false one, finding arguments in the entire history of all the Arts of the 20th century.
Paraphrasing the dictum "nothing that is human is alien to me" by "nothing that belongs to the arts’ field is not stopped or, in other words, alien for me, but on the contrary, I think I have said almost everything about me and my art conceptualization. Ceramics and glass, as my areas of soul - by graduation, thesis and my ongoing experience- have opened a lot of ways to interfere with all the other possible artistic fields such as painting, sculpture, drawing, graphics or installation and to all their possible and decent combinations. To me, this is the only way of understanding art in its diversity, by conceptualization and application, as a perpetual and unitary mechanism that generates an esthetic emotion of great refinement – a rare feeling that must be roused more and more frequently to a world that seems to live a constant and unstoppable dissolution.
The formal language of my work reflects the influence of hand built ceramics from different periods and cultures, combine with shamanistic graphic elements from Siberia. My works are not objects to use. Landscape, art and nature, is the world that my ceramics refers to and are influenced by. The natural world is reflected on a micro and macro level. Landscape and nature gives direction and orientation to my work. I am trying to imbue my work with pebbles and rocks together. At present I am not concerned with color. The surface of crackle patterns and spotting are resulting from the chemical and physical changes to materials that occur during the rapid firing and cooling of the raku process, and the linear markings resulting from my application of layers of slip and glaze. The Raku firing is between 850C & 950C and is completed by a prolonged smoking and cooling process. Finally the pots are cleaned and where applicable sealed with a natural wax.
For more than forty years I keep on making experiences , trying to detect my personal way in the wonderful world of ceramics , being totally amazed what that way offers to me .
Working with ceramics opened a door that revealed to me the endless possibilities of the transformations the clay is capable of, the magic of the sensory perceptions and the intriguing qualities of materials.
I am utterly convinced that there are various huge territories still undetected and unused in the artistic expression, unknown possibilities of the materials challenging us and that for the contemporary culture so very affected by the virtual reality it can be quite a refreshing, innovating trend to redirect our attention and rediscover through tactile experiences the sensorial possibilities of the materials, those qualities which could be the vehicles of the spiritual content.