Ceramic art exhibition - Brigitte Chassang

"The art of ceramics allows the creator to create forms as essential as a pebble, a gust of wind, a puddle of water or the sun in the foliage. Brigitte Chassang's works draw their inspiration from and envisage their future as a sensitive transformation of elements of culture and nature. The technique of wood-fired stoneware or porcelain requires mastery and particular experience. Right from the start of the work, the imaginary world created by wood-firing takes centre stage.
The strength of the works lies in the balance between the form proposed and the contribution of the fire.
The very tall vases, or Koré (female figures in archaic Greece), are of great sobriety, with a twist at mid-height like a size, a movement, and for each piece, the richness of the fire will make its simplicity or its subtle momentum in the light moving.

The Satchmo series, vases in which the shape is turned and then pushed and shaped from the inside, is a dialogue with Eastern Neolithic ceramics. On these shapes, the pattern of foliage or feather imprints breaks the roughness of the "bark". The turned neck nuances the modelling of the body and contributes to the piece's calm and balance.
The continuation of this research led to the Orcelles, where the modelled body is heightened by a foot responding to the collar, which can be perceived as a crossing of the form, or a piling up. In this series, there is a clear sense of construction. The intentions and volumes are similar to those of some modern architecture and sculpture (Mario Botta, Henri Gaudier Brzesca).

Rising from three points, the large tripod vases continue the dialogue with ancient Chinese and pre-Columbian ceramics. While isostatism (the three points of support) is a guarantee of stability, it also allows the shape to be stretched, with a clear relationship between fullness and emptiness, and profiles with astonishing modulations.

The usual ceramics - bowls, cups, teapots, jugs - have qualities in space that are fully suited to their purpose. Porcelain bowls, for example, with their 5, 6 or 7 sides constructed in a twisting movement or, in some cases, a more geometric rigour, offer a pearly whiteness punctuated by pink, grey and duller browns. In use, these seemingly austere everyday objects slowly reveal their wealth of shapes, colours and surfaces. "Serge Landois