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<\/a> <\/li><\/ul>","protected":false},"excerpt":{"rendered":"Peintre d\u00e9corateur depuis 1996, elle invente une mati\u00e8re, m\u00ealant aux proc\u00e9d\u00e9s occidentaux la fluidit\u00e9 de l’encre de Chine et la peinture aux min\u00e9raux broy\u00e9s sur papier washi. Mati\u00e8re profonde et vivante sur laquelle la lumi\u00e8re rebondit de grain en grain, r\u00e9v\u00e9lant les singuli\u00e8res couleurs de ces poudres min\u00e9rales. Si la qualit\u00e9 colorim\u00e9trique des min\u00e9raux broy\u00e9s […]<\/p>","protected":false},"author":4,"featured_media":8657,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"\r\n
My vessels are formed using a traditional West African coiling technique, abuilding method which for me has an almost addictive and Zen-like quality, where I feel completely at one with the clay. This particular technique, where each new coil is twisted into the body of the vessel, produces a greater strength to the form, and the use of a highly grogged clay body adds to this a resilience, helping the vessel withstand the primitive firing technique. The vessels are then refined by scraping and surforming to develop the form and smooth the exterior clay surface, which is then\u00a0followed by hours, sometimes days, of burnishing using a polished stone, which produces a tactile sheen, making each piece feel warm and alive. The pieces are bisque fired, and then smoke fired with a carefully selected collection of organic materials such as sawdust, wood shavings, coffee grounds, dried leaves and flowers, to produce the surface markings. The intensity and precision involved in making and burnishing each form is then contrasted by the excitement and drama of smoke firing, where the vessels are sacrificed to the smoke and flames, and alchemy takes over\u2026The result is that each piece is unique, feels alive, and has its own attitude and identity.<\/p>\r\n\r\n\r\n\r\n
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