40 Days into the Dessert Sculpture by Ana Botezatu

Sculpture Bloomen 14 by Zanellazine Ceramics Dimensions: W 26 x D 23 x H 43 cm Materials: Red and white clay, Green semi-refractorie clay. About: Giovanna Zighetti, ceramist and se...

Offering II Sculpture by Dora Stanczel One of a Kind. Dimensions: D 15 x W 50 x H 37 cm. Materials: Porcelain, metal, support tufa and gold. I create bespoke and luxurious porcelain...

Under Sheets sculpture by Ana Botezatu Dimensions: D30.5 x W 23 x H 7 cm Materials: Glazed Earthenware Ana Botezatu (b. 1982, Bra?ov (former Kronstadt), Romania) lives and works...

Harmfull ceramics sculpture by Alina Rotzinger Dimensions: H 35 x W 30 x D 20 cm. Materials: high temperature ceramics, oxide pigments and dead flowers. Composed by Alina Rotzin...

Ceramic sculpture by Marcello Fantoni, 1950. Glazed ceramic. Single piece. Original signature. Cooking defect. Biography Marcello Fantoni was born in Florence on October 1, 1915. Gr...

This striking handcrafted ceramic sculpture is a bold expression of contemporary artistry, blending organic forms, raw textures, and contrasting glazes into a visually compelling com...

21st century sculpture by English artist Corinna Button Corinna's work is primarily figurative although her sculptures are often more abstract.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...