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notes
1 Weaving with Clay pieces with mould (photography by Yuta Sawamura)
2 Close-ups of clay weaving
3 Collapsed porcelain
4 Shaping process
5 Colour research: celadon and ash glaze in reduction firing
6 Flame watch and kiln opening
7 Flat pieces, collection of longer arch connections
8 Making of the moulds
9 Kiln God
1 Weaving with Clay pieces with mould (photography by Yuta Sawamura)
2 Close-ups of clay weaving
3 Collapsed porcelain
4 Shaping process
5 Colour research: celadon and ash glaze in reduction firing
6 Flame watch and kiln opening
7 Flat pieces, collection of longer arch connections
8 Making of the moulds
9 Kiln God
04. Weaving with Clay / EKWC Residency
Connection can be as simple as pressing a few strings of clay together.
At EKWC, Pauline Agustoni used this principle to form a series of intriguing objects that seem to lift themselvesup from the ground. Their shape is determined by moulds: heavy vessels that tend towards autonomy with their lime-white interior and coarse decoration.
Agustoni extruded fine, straight-ribbed cords of clay that she draped into the moulds in inverted arches, weaving them in increasingly intricate patterns and connecting the strands at various nodal points with a push of a finger.
Once fired, the works stand on their own like domes turned upside down. The construction process is their first appeal, the chance distortions, a play of light and shadow, intimacy with the material, celadon glaze marking the indentations. And then the works begin to move, they become a dance or a gathering of sorts in joyous communion.
(Text by Nanne op ‘t Ende)
2024 Residency at EKWC European Ceramics Work Center
2022 Preliminary research exhibited at Objets de Kunst, gallery tête, Berlin, Germany
This project was supported by Ikea Foundation Switzerland