sloppy céramiques#1-2018 (2018) Sculpture by Baptiste Vanweydeveldt

Not For Sale

Sold by Baptiste Vanweydeveldt

One of a kind
Artwork signed by the artist
Certificate of Authenticity included
This artwork appears in 1 collections
  • Original Artwork (One Of A Kind) Sculpture, Ceramics / Enamel
  • Dimensions Height 5.9in, Width 3.9in
  • Fit for outdoor? No, This artwork can not be displayed outdoor
  • Categories Sculptures under $500 Abstract
Première céramique dite "bâclée" , les "sloppy céramics" ne le sont point, mais pas leur aspect expressionniste, les couches d'émaux sont patiemment déposés sur 3,4 cuissons à différentes températures donne un aspect "punk" à la céramique... évoquant l'une des pratiques artisanales les plus anciennes[...]
Première céramique dite "bâclée" , les "sloppy céramics" ne le sont point, mais pas leur aspect expressionniste, les couches d'émaux sont patiemment déposés sur 3,4 cuissons à différentes températures donne un aspect "punk" à la céramique...

évoquant l'une des pratiques artisanales les plus anciennes avec le tissage et les outils, la céramique allie les éléments et la science en un médium sensible qui s'in-forme du travail du temps et de la main, des oxydes pour les couleurs et du feu pour la fusion des élément sur un point de fragilité et de résistance à la fois...

la forme simple évite aussi l’utilité pratique d'un pot car un trou placé au fond au coté de la signature empêche la contenance de liquide ... a la limite un cactus ou un bonzai

Related themes

BaptistevwartBaptiste VanweydeveldtCeramiqueSloppy CeramicRaku Punk

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Visual artist, born in 1978 in Lille. currently lives in Caen, France. I situate my work between a laboratory of forms (search for volume through drawing, painting and sculpture) and a tendency towards[...]

Visual artist, born in 1978 in Lille. currently lives in Caen, France.

I situate my work between a laboratory of forms (search for volume through drawing, painting and sculpture) and a tendency towards DIY (recycling of found objects and materials, transformation of their uses, reinvestment of their signs and questions about their subjects). I approach several mediums at the same time in order to extend the creative process to other fields of research: anthropology, natural sciences, etc.
The pooling of the two works like a small world with its own energy flows.
Usually I start with a series of sketches, notes and diagrams. I also rely on my reading, on a lot of images, which I feed on with bulimia. I exhaust their meanings until there is emulsion. This may explain the dreamy but also saturated appearance of my installations. Without cultivating a pessimistic view of the world, despite everything, I question our future through figures that are close to us, towards an imaginary that I wish to be collective; it is an opening onto a composition with multiple perspectives.
My recurring themes are environmental around the domus (house, private sphere/public sphere, hospital, etc.) and the extended living, according to a spatial questioning centered on the flow of energies, on magnetism and a set of enigmatic correlations.

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