Creative Unit 1, Aberystwyth Arts Centre, University Campus, SY23 3DE
You are warmly invited to join Dorian Teti, our artist in residence from Brittany to show ‘The Unknown Potter – A Genealogy of Forms’
‘The Unknown Potter is a work that takes its starting point from the collection of ceramics at Aberystwyth University, as part of my residency with Aberystwyth Arts Centre. Intrigued by a particular entry in the collection’s database concerning objects that have no attribution (the “unknown potter” section), I am trying to establish a definition of what Welsh ceramics can be. In parallel, I started a collection of ceramic objects in the many charity shops of the city, which are another way to evoke the question of the author, from objects of unknown origin. Guided essentially by a subjective and almost “exotic” idea of what can be an all-welsh ceramic, the objects become vector objects, which link personal stories to the collective history of Wales. The absence of a signature on all these objects allows me a temporary appropriation, in order to think of a flexible, almost elastic definition of local production. In a back and forth game between the Art School collection, the second-hand shops and my workshop, I try to appropriate gestures to draw new forms, and thus give back a singularity to these objects left behind.’
The Unknown Potter – A Genealogy of Forms
You are warmly invited to join Dorian Teti, our artist in residence from Brittany to show ‘The Unknown Potter – A Genealogy of Forms’
‘The Unknown Potter is a work that takes its starting point from the collection of ceramics at Aberystwyth University, as part of my residency with Aberystwyth Arts Centre. Intrigued by a particular entry in the collection’s database concerning objects that have no attribution (the “unknown potter” section), I am trying to establish a definition of what Welsh ceramics can be. In parallel, I started a collection of ceramic objects in the many charity shops of the city, which are another way to evoke the question of the author, from objects of unknown origin. Guided essentially by a subjective and almost “exotic” idea of what can be an all-welsh ceramic, the objects become vector objects, which link personal stories to the collective history of Wales. The absence of a signature on all these objects allows me a temporary appropriation, in order to think of a flexible, almost elastic definition of local production. In a back and forth game between the Art School collection, the second-hand shops and my workshop, I try to appropriate gestures to draw new forms, and thus give back a singularity to these objects left behind.’
All welcome- Wine and juice will be served
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