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The Beauty of Clay at Melting Point 2018

Exhibition  /  26 Apr 2018  -  07 May 2018
Published: 24.04.2018
González Martí National Museum of Ceramics and Decorative Arts
Place
Carrer del Poeta Querol 2
46002 -  Valencia
SPAIN
Website Melting Point
Website Dterra
Mail:
infoE-maildterra.es
Curator:
Dterra
.

© By the author. Read Klimt02.net Copyright.

Intro
The Beauty of Clay is a project that combines ceramics with modern jewellery. It invited 14 artists to create a piece of jewellery with clay as its defining element.

Artist list

Imma Batalla, Aline Berdichevsky, Gabriela Cohn, Trinidad Contreras, Pilar Cotter, Roberta Ferreira, Tanja Fontane, Eva Girbes, Alicia Giráldez, Lola Gratacos, Laura Jener, Judy McCaig, Núria Soley, Blanca Torà
Our aim is to show the plastic and creative possibilities of clay as a medium for modern jewellery. Photographer Pep Àvila has been invited to create a series of portraits which show the relationship between these creations and the body. / DTerra Gallery
Alicia Giráldez. Brooch: Bubbles, 2016. Glazed porcelain and rusted nickel silver.. 8.5 x 5.5 x 0.5 cm. Photo by: Pep Ávila. My invitation to create for The Beauty of Clay has made me realise why I spent so much time on ceramics, some time ago, before immersing myself in the engrossing work of jewellery. . The nexus, without doubt, is glaze. Liquid sand over earth or metal. Working with glazes at high temperatures is relatively complicated: it’s a long, slow, slog against an unknown outcome. . But I have found again the subtle, delicate forms and the infinite possibilities that are offered by earth and fire: overwhelming. I sense that I have found a new road for my expression: a road full of landscapes; a walk that finds something new at every turn. . And I have dreamed of the possibility if using the beauty of ceramics to augmen the expressive register of my palette. .  . Alicia Giráldez
Brooch: Bubbles, 2016
Glazed porcelain and rusted nickel silver.
8.5 x 5.5 x 0.5 cm
Photo by: Pep Ávila
My invitation to create for The Beauty of Clay has made me realise why I spent so much time on ceramics, some time ago, before immersing myself in the engrossing work of jewellery.
The nexus, without doubt, is glaze. Liquid sand over earth or metal. Working with glazes at high temperatures is relatively complicated: it’s a long, slow, slog against an unknown outcome.
But I have found again the subtle, delicate forms and the infinite possibilities that are offered by earth and fire: overwhelming. I sense that I have found a new road for my expression: a road full of landscapes; a walk that finds something new at every turn.
And I have dreamed of the possibility if using the beauty of ceramics to augmen the expressive register of my palette.
 
© By the author. Read Klimt02.net Copyright.
Blanca Torá. Brooch: And then came the form, 2016. Glazed stoneware, brass, color, silver.. 6.8 x 2.5 cm. Photo by: Pep Ávila. My hands find their place between earth and water, which slip through the lines and folds of my skin. Pores are filled with the clay, the incessant turning of the wheel puts me into a state of wonderful transition, the same as the waves of the sea. My hands embrace and move to the rhythm of the piece. This makes me feel very much like when I solder: my mind alert, calm and in the present. . . Working clay is working with the beauty of detail, tactile, the presence of my hands on the skin of the earth.. Blanca Torá
Brooch: And then came the form, 2016
Glazed stoneware, brass, color, silver.
6.8 x 2.5 cm
Photo by: Pep Ávila
My hands find their place between earth and water, which slip through the lines and folds of my skin. Pores are filled with the clay, the incessant turning of the wheel puts me into a state of wonderful transition, the same as the waves of the sea. My hands embrace and move to the rhythm of the piece. This makes me feel very much like when I solder: my mind alert, calm and in the present.

Working clay is working with the beauty of detail, tactile, the presence of my hands on the skin of the earth.

© By the author. Read Klimt02.net Copyright.
Laura Jener. Necklace: Cave amulet, 2016. Stoneware painted with iron oxide, oxidized silver.. 8 x 6 x 70 cm. Photo by: Pep Ávila. Working with clay is a challenge for me, it offers infinite possibilities, which makes the decision of what to create so difficult. When I began working with clay I was taken back to childhood memories where small balls of clay, made with my own hands, were treasures that could never be broken. Containers of feelings or of moments in time, receptacles or caves which return to the primitive and the ancestral. Our forebears adorned their bodies with figures and amulets of clay. The first jewels. They too understood the beauty of clay. .  . Laura Jener
Necklace: Cave amulet, 2016
Stoneware painted with iron oxide, oxidized silver.
8 x 6 x 70 cm
Photo by: Pep Ávila
Working with clay is a challenge for me, it offers infinite possibilities, which makes the decision of what to create so difficult. When I began working with clay I was taken back to childhood memories where small balls of clay, made with my own hands, were treasures that could never be broken. Containers of feelings or of moments in time, receptacles or caves which return to the primitive and the ancestral. Our forebears adorned their bodies with figures and amulets of clay. The first jewels. They too understood the beauty of clay.
 
© By the author. Read Klimt02.net Copyright.
Trinidad Contreras. Brooch: Intro, 2016. Porcelain, silver, leather, nickel silver screws, steel.. 8.5 x 8.5 x 3 cm. Photo by: Pep Ávila. Working with porcelain is to want to consciously exercise "self-observation", to find moments for reflection, to enjoy and learn from chosen solitude. I wanted to listen to silence and discover its forms... Half jewel, half organ! Three principles: spirituality, science and art. A project that stems from introspection. The result is a complex device, like an artificial headphone which (basically) combines two main materials: porcelain and leather, as well as tiny silver sensors which connect to the wearer's interior and whose volume can be adjusted by the wearer.. Trinidad Contreras
Brooch: Intro, 2016
Porcelain, silver, leather, nickel silver screws, steel.
8.5 x 8.5 x 3 cm
Photo by: Pep Ávila
Working with porcelain is to want to consciously exercise "self-observation", to find moments for reflection, to enjoy and learn from chosen solitude. I wanted to listen to silence and discover its forms... Half jewel, half organ! Three principles: spirituality, science and art. A project that stems from introspection. The result is a complex device, like an artificial headphone which (basically) combines two main materials: porcelain and leather, as well as tiny silver sensors which connect to the wearer's interior and whose volume can be adjusted by the wearer.

© By the author. Read Klimt02.net Copyright.
Judy McCaig. Brooch: Laguna, 2016. Steel, nickel silver, brass, ceramic fragments.. 9 x 6 cm. Photo by: Pep Ávila. New materials are a constant source of inspiration, not only the actual discoveries but also the process of the search and investigation. With clay and ceramic on my mind I began to find fragments, parts broken, pieces separated from their initial objects… worn by the waves of the sea, aged by nature and by time. Using the same tools, I worked these as I would work a precious stone, cutting, sanding and shaping each element. Working with clay and ceramic has left me with the wonderful sensation that the possibilities are infinite.. Judy McCaig
Brooch: Laguna, 2016
Steel, nickel silver, brass, ceramic fragments.
9 x 6 cm
Photo by: Pep Ávila
New materials are a constant source of inspiration, not only the actual discoveries but also the process of the search and investigation. With clay and ceramic on my mind I began to find fragments, parts broken, pieces separated from their initial objects… worn by the waves of the sea, aged by nature and by time. Using the same tools, I worked these as I would work a precious stone, cutting, sanding and shaping each element. Working with clay and ceramic has left me with the wonderful sensation that the possibilities are infinite.

© By the author. Read Klimt02.net Copyright.
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