Statement of Intends, the explanation of Adele’s Art

Ceramica ADELE GRAMMAUTA

Adele Grammauta

BA Ceramics

Mie intenzione : 09/01/2006

I have always been open to the use of different media combined with the nature and character of ceramics, and at this particular time with the raw clay.

After experiencing what happened to a range of clays and ceramic materials, as well as to specific details and their natural colours, I tried a monochromatic experiment in blue. This is a meeting between an eternal ceramic and temporary raw clay, occasionally with a single colour : blue. You could ask “ why is it only about blue? ”. To reply, I am going to use one expression that W. Gœthe wrote in his Farbenlehre “ Didactic Part, 781 ” : “ As we readily follow an agreeable object that flies from us, so we love to contemplate blue, not because it advances to us, but because it draws us after it. ” Blue is Novalis, the sky, the Virgin mantel, and according to W. Gœthe it is mystery, eternity, intellectuality and pœtic worth. Blue only is in half to describe the power of colours to us and to the material itself.

Instead the use of cooked and raw materials is somehow the metaphor of A medal with its two faces, in which we cannot expect the same behaviour in different circumstances. Therefore, working on every type of contrast can produce much more interesting results than choosing one simple form of visual beauty.

I have an opinion about physic and thoughts, especially according to Lavoisier's law of Physics which states that nothing gets destructed but everything transforms into something else.

Now, thoughts make my life terrifically busy. Then, a book comes on my way, is about Art, Science and Spirituality. David Bohm, a quantum physicist inside it. He manifests his dissatisfaction with current interpretation on Order and suggests an "hidden Order" at work beneath the seeming Chaos and lack of continuity of the individual particles of matter...but no many listen... Actually many artists were concerned about the energy and the universe, Hoshino works, Rauschenberg, Beuys, Kosho Ito !

Instead, in practical terms of material, I have been terrified by uncontrollable cracks that can occur inside the kiln, and by the raw clay treated and shaped on the canvas, rather than anything. Actually, as it is simply described in “ Body in Sculpture ” : anything material transform into something of spiritual value… our comment about injustice and inequality. Materials will give me a response in their own variable periods of time.

The space between these two dimensions intrigues me because there I find my inspiration. Working with both raw and cooked clay implies a choice among various techniques. Each technique implies a particular choice and consequently this means that some aspects must be renounced.

Bodies are equal earth, equal clay: I should talk about the earth, actually I am talking to you humans about life, bodies, born-unborn babies, children and my romantic position about being in life, a cuddle from an even more sick mother earth. I have found out that if cooked clay represents the decision working with raw clay among my fingers or on the wheel has been, to me, a wonderful experience.

Kosho Ito's work inspired my reaction to fear, plus R. Rauschenberg assembled work, my capacity to collect information and developed them, for the simple reason that I believe in "missions".

In spite of this, even in this "raw-case" there is a limit: the canvas. In facts I could work on a wall, but this is almost impossible because I should be able to retain that wall for ever; and contrary to this, the canvas allows me the necessary time to control the process of my work until it is ready to leave me.

To write better…