Null Michèle UGUEN, born 1953
Physalis, Fouesnant - 2022
Sculpture in physalis s…
Description

Michèle UGUEN, born 1953 Physalis, Fouesnant - 2022 Sculpture in physalis shells dipped in porcelain. Fired at 1260°C, the plant disappears disappear, leaving only the imprints. Burnt-wood base by Igor Lamy, aka Castel_Wood. A small porcelain element is included. Unique piece signed with a red dot in one of the shells. Height 18 - Diameter 22 cm - Dim. base 47 x 44 cm --- Michèle UGUEN, born 1953 Born in rugged Pagan country, Michèle Uguen turned to porcelain in 2014, following a classical approach to ceramics. She explores paper porcelain and techniques combining textiles and plants. As a coastal gleaner, the region's strong elements, their harshness but also their poetry, lead her to paradoxical creations made of fragility and robustness. The creations presented at the Ar Seiz Avel exhibition and sale reflect this: the fragility of the Physalis flower, which becomes robust when set in porcelain. But also the fragility of nature, which suffers the assaults of a consumerist and sometimes destructive society: the nets caught in the porcelain. By applying to the Ar Seiz Avel event, Michelle Uguen has confirmed her Breton identity, the values that make her unique and the need to promote them.

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Michèle UGUEN, born 1953 Physalis, Fouesnant - 2022 Sculpture in physalis shells dipped in porcelain. Fired at 1260°C, the plant disappears disappear, leaving only the imprints. Burnt-wood base by Igor Lamy, aka Castel_Wood. A small porcelain element is included. Unique piece signed with a red dot in one of the shells. Height 18 - Diameter 22 cm - Dim. base 47 x 44 cm --- Michèle UGUEN, born 1953 Born in rugged Pagan country, Michèle Uguen turned to porcelain in 2014, following a classical approach to ceramics. She explores paper porcelain and techniques combining textiles and plants. As a coastal gleaner, the region's strong elements, their harshness but also their poetry, lead her to paradoxical creations made of fragility and robustness. The creations presented at the Ar Seiz Avel exhibition and sale reflect this: the fragility of the Physalis flower, which becomes robust when set in porcelain. But also the fragility of nature, which suffers the assaults of a consumerist and sometimes destructive society: the nets caught in the porcelain. By applying to the Ar Seiz Avel event, Michelle Uguen has confirmed her Breton identity, the values that make her unique and the need to promote them.

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