Form of rotation
In this sculpture, the material seems to retain the memory of the force that shaped it. The twisted and torn form resembles a fragment of a natural formation—a trace of movement, pressure, and destruction.
Working with the ancient ceramic traditions of Korea, China, and Japan, Sergey Sorinsky does not directly reproduce their forms, but rather addresses the very principle of their relationship to material and process. Traces of deformation, rupture, and firing become part of the image, and the surface retains a sense of prolonged, almost geological time.
The sculpture exists as an independent form, simultaneously reminiscent of an artifact of an unknown culture, a natural object, and a trace of complex tectonic processes.
Sergey Sorinsky (b. 1964) is a Russian ceramic artist working with high-fire ceramics and wood-firing techniques. He graduated from the Abramtsevo Artistic and Industrial College named after V. M. Vasnetsov and the Saint Petersburg the Mukhina Higher School of Art and Design. His practice is centered on the exploration of natural structures, the material qualities of clay, and the unpredictable aesthetics of high-temperature firing, through which each work acquires a unique character and surface. Sorinsky’s works are held in the collection of the State Hermitage Museum, as well as in other Russian and international public and private collections.
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