3. Juni 2012 - New Ceramics

Giorgiorgio Pasqualotto Giancarlo Scapin
That a ceramist's work consists not solely of making
pots, as the Greek expression might suggest, but that it
means artistic activity
working with earth,
water air and
fire is no
longer
Foto Silvano Bille
Movimento Fluttuante, h 66 cm, 65 cm, 18 cm,
Refrattario e porcellana, 1280 °C, 2003
seriously in doubt, except among those who are rich in goods
but poor in culture and who still believe that ceramics should
be merely useful and "serve" a smoker's ash, a lady's flowers
and afternoon tea.
Nevertheless, many ceramic artists including those who have
achieved remarkable things in the field of form have reached
an impasse being inordinately satisfied with the outstanding
results they have achieved hitherto. They have fallen into inaction,
seduced by the possibility of repetition, having committed
to a certain technique and a certain style. There
are not many people faithful to ceramics as art,
i.e. who continue to experiment and research
in the area of form and material
(because this “faithfulness" comes at
a cost: it is hard to live from ceramics
without making cups and
jars). Among this small number
of bold and daring individuals
who are prepared to
bear financial difficulties
for the sake of their art is
without doubt Giancarlo
Scapin, originally from
the Veneto, was shaped
by the earth of Tuscany
and France and for
many years has been
deeply interested in the
severity and power of
Japanese ceramics influenced
by Zen.
These most recent
pieces appear to us like
the work of a researcher,
as the results of disciplined
experiment. A talent for invention
in the field of form
as well as the study of materials
have contributed to their creation,
but so has reflection on possible
meanings, starting with those that
offer sensory perception and including
the ones with traditional symbolism.
The effect of Scapin's latest work can
be found in the realm of symbolism: the
devalued pieces of papal headgear in a
stoneware body the colour of a sunset in the
desert, only slightly interrupted by the scored
steps leading upwards and downwards, that intersect on
a rough, compacted surface. This surface is perforated by a small
There are not many people faithful to ceramics
as art, i.e. who continue to experiment and
research in the area of form and material.
MAY / JunE 2012 NEW CERAMICS 21
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