Untitled 13
Should an artist react to what is happening around him in his art? Can an artist not react? To what extent is a purely formal approach characteristic of ceramics and is it possible to withdraw into oneself, hide from reality, immersing oneself in the creation of an abstract sculpture? I have been asking myself these questions for the last two years and have received answers in the form of a series of sculptures that I do not call in any way. The sculptures of the series, it seems to me, reflected my inner state, becoming laconic and nameless. The name "Untitled" is like losing the gift of speech, leaving room only for pure non-objectivity. In the sculptures of the "Untitled" series, the rigid, elastic, sharpened form, seemingly not characteristic of soft plastic clay, is emphasized by glazes with a metallic sheen, contrasting with areas of the internal space painted in soft matte colors. The internal space of the sculpture, the voids and gaps that transform the main volume are very important, since it is these "nooks" of the form that can paradoxically emphasize the integrity of the external monolith.
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