Earth and Fire Shapes
In the exhibition Earth and Fire Shapes (Museu de Portimão, 2012), the works, which clearly express their own matter inherent to the physical proprieties of the ceramic material, seem, by the installation technique, to be in suspension, free of their own weight. This apparent or visual lightness permits the sculptures to leave their ‘objectuality’, surpassing their materiality and gaining new symbolic meanings. Suspended in space, the works, gifted with an investment of energy that impels them against gravity, defeat the resistance of their own weight and float like animated bodies or planets in cosmic space.
It is in the museum, or in the exhibition space, that, through aesthetic emotion, the observer can transform the works into an idea. The works are similar to an ‘abstract embodiment’, that is, if on the one hand they assume their own shape, on the other hand, the way in which they are placed in the space helps them overcome their formal “objectuality”. The works place the observer in the domain of the sculpture, which presupposes a conceptual involvement, without which the works are not distinguished from ordinary utilitarian objects.
In different times and different cultures, certain objects become animated and are seen as living beings. Remembering the idols of ancient civilizations, through transfiguration and upward movement, we can glimpse a shamanic sense of art, in which the pieces, while instruments of power, are seen as charged with ritual and symbolic meanings, which surpass their materiality.
The cultural charge of the materials and the objects interests me. The morphology of pre-historic pots, their form and their emptiness, as well as their functions related to transportation, storage, preparation and consumption of food products, along with their symbolic values associated to the beginning of agriculture/sedentarization, the hearth, commensality rituals, the body and the role of women, have been fundamental aspects of the scope of my artistic practice.