“The research oscillates between the two extremes of a solar, immovable, classical form (the large jars, inspired by ancient prototypes, which open up to new life in the colour of the surface) and an earthly one, linked to the flow of time, ‘which tires all things’ and leaves its mark in tortuous forms […]. However, on closer analysis, the writing itself is the common feature of this production, which appears to be so divergent in its two outcomes.
The signs tremble across the vitreous surfaces of the ceramics, composing perfect colour associations (reds, whites, blues); they twist into enigmatic shapes (the spiral) […] but can also, placed on the white of the jars, become chromatic oases in the silence of the form, only to emerge from it as pure graphism, injected into the absolute gesture of the blacks.”
Marco Nocca
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