Artwork Description: _________________________________________________
Roots of ceramics : a link for sale. Its complexity and value require some explanation. That's why it's presented in a dynamic with contemporary works. Beyond the documentary interest that it may anecdotally represent for archeology, this work is a timeless symbol of this link of creation that unites man to clays and to rocks, a link man uses now for centuries in its most accomplished phase by using sandstone, faience, porcelain. Today, no equivalent is known to this object elsewhere in the world: it perpetuates the vocation to be a unique work. This object thus claims its link with its successors over time, until the famous "man with the sheep" from Picasso visitors can admire in Reina Sophia's Museum in Spain.
! It takes a lot of know-how, instinct, and spontaneity, to get out of our condition of being contemporary with our time, to concentrate meaning and to pass a universal message during deconstructing the material before creating. .
! The original gesture is the one that has no age. The works and works resulting from its research allow us to know that from where we come and where we are going, our concerns have been and will remain the same: the preservation of this link that unites us to the earth and the fear of losing this link, our identity and the mystery of life.
! The author of the series '' merinos '' is an artist and ceramist named Renate Pozo. Renate Pozo studied at the School of Applied Arts in Santiago de Chile. Her works are represented in several collections among others at the National Art Gallery in Caracas, Venezuela.
! Her source of inspiration could come from the work of a ceramic apprentice sculptor whose name will remain unknown to us and who existed about 10,000 years ago. But it is not so.
And in both cases the objects are at the same time symbolically powerfull objects of art and usual objects.This is why all the works are presented as a whole.
You can find the ceramics of Renate POZO '' merinos '' (and many more) on our website.
The sheep and the man
! Here we are. Certe this object can stand up on its base and on a flat support. But above all, it is made to exist in the gaze of the one who wears it and holds it in the palm of his hand. More precisely, it is not a sheep, but a 10,000 years old stone sculpted ram. And, intrinsically, this object asks the question of what remains invisible to the eye, namely the sheep the ram leads.
! Living memory of a timeless practice that plunges us to the roots of ceramics and the arts of fire, I put on sale this work to open a showroom in the South of France that can accommodate works of artists and ceramists from all styles and almost motivated by this same search for the original gesture, through their diversity.
! The support is a slab of limestone (partially cleaned) height 5 cm x width 6 cm x thickness 1.5 cm. It has been carved and polished on one of its faces to represent the wool and horns of the ram.
The stability of its base indicates that this work could be placed on a flat support. Debris from a coarse pottery found same depth, indicate that the baking of the clay was known but that the stone was favored for this work probably for its resistance.
! This object has been declared to the public National and Regional Cultural Office and it has not been found a competent or available specialist to be interested according to the budgets allocated to the research and to the priorities of the research. This object has been appraised by a private Cabinet. It can to this day leave without constraint the territory where it is detained.
! Unlike another work in the collection from which it comes, and which is the missing link to inject the meaning that suits to the terms "of all times'' followed by the words'' men have used ceramics as a means of expression", the part polished was placed out of contact with the fire.
! The other work (unshown), composed of a checkerboard of small cut and polished limestone cubed stones, stuck in a mortar of limestone and ocher stone, saw its worked side placed against the heat source. The reason was probably because the whole had to harden to become a mosaic sculpture and that the mortar did not support a direct heat.
! The work - the ram - was immersed in a bath of yellow ocher (a series of stone mortars found nearby) in the same way that clay is immersed in a bath or covered with engobes before heating. Its vocation is to be an ornament carrying a message, on one of its faces where it is given to see.
! The size of the object allowed him to be held in the palm of an adult hand.
It could have been a toy, an amulet, or the equivalent for its bearer of the proof of its link with the flock which he kept and of which he was the chief like his ram.