How did I come to ceramics?
I initially studied development of the "Third World", having had a few different field experiences namely in Uganda (helping rebuild a school, with a church youth group), and in Tanzania (working in refugee camps after the Rwanda- Burundi bloodbathes in 1994-95). My studies left me with a strong disgust for the profession because of the dogma that it vehicles (as if the "developped world" was so much better off!!!). I ended my development studies by writing a paper on the social role of art and artists in Dakar, and how their position as observers might also make them motors of social change. I guess that what links the beginning of my professional path to what I do today is the will to make the world a more beautiful place.
The choice of ceramics
My grandmother was a ceramicist although pots were not the main object of her work. At the time I didn't even imagine becomming a potter, but was quite familiar withe smell of clay, and it's dust. Saddly, my grandmother was no longer around when I actually did go into training (1999) so I don't benefit from her professional experience; but had she, she probably would have shot me for even considering the possibility of getting myself into such a difficult field of work. Nevertheless I hope that from where she is she approves of what I do.
POTS, made to store and share food, playing an important role in feeding mankind, I hope not only on a physical level!!!
Pots are the main object of my work. I like the idea that the pots I make will find their places and uses in the lives of those who have acquired them. Each one that I make is unique, and the investment that I make of myself in their conception makes them not far from magic.
Magic in ceramics is also an aspect of the actual technology and process that is proper to ceramics.
POTS, made to store and share food, playing an important role in feeding mankind, I hope not only on a physical level!!!
Pots are the main object of my work. I like the idea that the pots I make will find their places and uses in the lives of those who have acquired them. Each one that I make is unique, and the investment that I make of myself in their conception makes them not far from magic.
Magic in ceramics is also an aspect of the actual technology and process that is proper to ceramics.
A bit of technique
The material that I use is a stoneware clay that I mix with porcelain in order to magnify colors as well a to refine the texture of the clay. I chose this technique over the "Provençale" glazed terracotta tradition, because the additional degrees at which stoneware is fired enables a harder final result. They also open the door to composing glazes, which, to me, is the most magical part of the process.
I love the idea of creating colors and textures, that fit shapes and their lines.
Usually clay objects are fired twice, the first passage in the kiln "cooks" the clay and the second heats the glaze. Stoneware is fired at 1280° , but this is only an indication in the sense that myfirings for example may go up to 1300°, which is the limit accepted by my kiln. Porcelain's limit firing temperature can go up to 1400°, provided you are accordingly equipped.
Glazes are mineral mixtures ( silica, alumina, chalk, magnesia...) composed to melt at a given temperature. Colors are implemented by the additon of metallic oxydes such as copper, iron, cobalt, and chromium. I make a point in using raw materials, in the sense that I refuse to use industrially produced colors. This gives my work an aleatory element that I cherish
I love the idea of creating colors and textures, that fit shapes and their lines.
Usually clay objects are fired twice, the first passage in the kiln "cooks" the clay and the second heats the glaze. Stoneware is fired at 1280° , but this is only an indication in the sense that myfirings for example may go up to 1300°, which is the limit accepted by my kiln. Porcelain's limit firing temperature can go up to 1400°, provided you are accordingly equipped.
Glazes are mineral mixtures ( silica, alumina, chalk, magnesia...) composed to melt at a given temperature. Colors are implemented by the additon of metallic oxydes such as copper, iron, cobalt, and chromium. I make a point in using raw materials, in the sense that I refuse to use industrially produced colors. This gives my work an aleatory element that I cherish
