The aim of Sara Navarro’s work is to bridge the gap between the most remote processes of ceramics production and contemporary sculpture. Her main focus is the relationship between hand and matter, in the artisanal know-how sense. She convokes the power of fire in the production of ceramic artefacts: transforming soft and malleable clay into hard and resistant material. In this way she is connecting the art of sculpture with primeval processes of ceramics production and conferring a primordial cultural value to the practice of sculpture.
Earth (clay), due to its malleability, allows her to explore the gesture that, associated with terrestrial substance, is the basis of the creation of objects similar to archeological pieces, embryos of current times. The sculptures, (re)created by the art of fire, convey something prehistoric, something that evokes the art and culture of other times, other places, something that wakens echoes of an ancient land.
By proposing a leap between millenniums, she is responding to her fascination with archaeological fragments that hail us from ancient times, from enigmatic and extinct societies. These dual references between a remote past and the contemporary are fused into a synthesis, in which the sculptures function as a metaphor operating in the displacement between the historical references and our imagination.
Based on lost realities, the forms created put present time in contact with remote pasts. Through transfiguration, primordial models arise, recognizable, but charged with new symbolism. Artefacts with multiple significances with constructed and reconstructed meanings...
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