Florian Daguet Bresson - Fondateur de Ceramics Now

What is Ceramics Now?

Présenté par Florian Daguet-Bresson & Raphaëlla Riboux-Seydoux, Ceramics Now a pour objectif de mettre en lumière la diversité et la vivacité d’une pratique en pleine renaissance, l’art de la céramique.

En exposant le meilleur de l’art de la céramique contemporaine, au travers de créations d’artistes qui, par leur force, leur génie, leur liberté et parfois leur humour, donnent naissance à des perceptions et valeurs artistiques d’aujourd’hui.

In recent years, the new techniques used by artists have given rise to an aesthetic revolution that has reawakened the discipline. We are at a turning point in the history of this art form, which now reaches a wider audience.

New collections were formed in response to the influx of these new forms and materials, resulting from studies in chemical physics, 3D printing creations, a return to traditional techniques and the evolution of artistic approaches.

Ceramic art today

Les savoir-faire explorés par les artistes sont sans frontières, libres et repensés pour créer de nouvelles formes d’expression.

Lors de la première édition, le paysage est éclectique et baroque, il est reflet d’une excentricité que permet l’artifice céramique. De la cuisson au four à bois, avec la technique japonaise ancestrale de l’anagama pratiquée par l’artiste français Simon Manohato the new 3D printing techniques mastered with malice by the New York artist Jolie Ngothrough the neo-Sottsassian spirit of the artist Alice Gavalet or by the spiritual and committed sculpture of Johan Creten, c’est à chaque fois une rencontre inédite propre à chaque artiste entre d’un côté leur imaginaire, et de l’autre, les contraintes de la réalisation.

Nous sommes dans une phase où la discipline connaît des bouleversements esthétiques par l’arrivée de nouvelles techniques, de découvertes scientifiques, de nouvelles matières et connaissances, c’est l’annonce d’une nouvelle ère qui, j’en suis sûr, laissera quelques grands noms actuels dans l’histoire de l’art.

For a long time, at least in the West, ceramics was confined to a decorative craft, but in the 20th century it gradually gained the status of a major art form, assimilated to a form of sculpture, thanks in particular to the productions of a Picasso or a Fontana. The profile of these two artists as ceramists has gained recognition to the point that their value on the contemporary art market has risen dramatically. Contemporary ceramics are attracting a new public, which is mixing with the old collectors.

In recent years, this very plastic and precious medium has been (re)discovered, stimulated by the development of new techniques, stemming from chemistry and computer-assisted creation. Shapes are emerging that would be unthinkable without scientific innovations. Technological and aesthetic revolutions create a desire for new collections. In this context, foundations, museums and other cultural institutions are very interested in the reinvention of ceramics.

Ceramics is delighting and reviving the art market today. Ceramics Now is a testimony to this new vitality.

CERAMICS NOW 2023 | Présentation
Sir Norman Rosenthal pour Ceramics Now 2021
Ceramics For Ever

Preface to Ceramics Now 2021

written by Norman Rosenthal

The world of art is about looking back and looking forward in time. Arguably no flexible art form has quite the perfect potential for surviving into the infinity of time as baked clay-in other words the infinitely rich through all human history art of ceramics, and later when it came to be invented in China, and then by theft came to Europe, the fine related arts of porcelain. Yes of course there are the metallic arts of gold and bronze, not to mention stone, but fired clay has the unique ability to take and hold onto colour and never fade in any way. In the ancient world there were certainly as many paintings on a flat grounds such as wood or woven materials as there are in our own recent time spans, but of those as good as nothing survives, apart from some miraculously preserved frescoes and the funerary portraits of Fayum.

However there are, whether it is that to the East or West that we look, countless pots and other ceramic forms from every era that have survived without the slightest perceptual change, other than through breakage. The paintings, in the Louvre even by the greatest old masters, do not look exactly as they were when they left the studio, sometimes far from it -the chemistry of colour materials used causes them to change irrevocably. But the Sevres vase or drinking vessel, whether of the eighteenth century, or from the epoch of Art Nouveau, what we can see and love, is exactly as to those who first saw each piece, in all its intense and subtle colour and shape. And even if there is not quite the same sense of fetish that surrounds the name of individual artists that exists about the arts of Western painting and sculpture, the potential in ceramics for self-critical yet playful or deadly serious beauty exists in every age. This includes naturally, perhaps surprisingly for some persons and who might be inclined to declare the arts of ceramics “dead”, equally in our very own times.

For this exhibition, Raphaëlla Riboud-Seydoux and Florian Daguet-Bresson have assembled for us a remarkable collection of contemporary ceramics from all over the world that too speak of the endless imaginative thrills of colour combined with form. These too now be inevitably preserved in perpetuity thanks to various and complex firing methods – each the precise legitimate secret of the artist. These mysteries enable extraordinary shapes and subjects to come into being, and, each expressing the unique imagination and fantasy of each artist, who is also equally of course a highly skilled craftsperson. We are able see and have around us, in almost beyond real and intense colour, fantasy architectural model structures, forever burning candles, vases of flowers that will never die, softly coloured tissues in piles that will never soil, mysterious figures and faces. Humour and reflection is everywhere. Above everything there are riots of colour, pattern and original surface invention that like the ceramics of old intended to be taken to an afterlife somewhere or other, that too will all survive, if looked after and enjoyed with care, exactly as they are into something close to eternity.


Florian Daguet-Bresson


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