Spheres and sense: Bozena Sacharczuk.
Some time ago I wrote in my notebook about these ovoid forms and their characteristics of fluidity and their 'flowing' and calm colours. The effect that comes from the use of a discreet milk white glaze and facture acts not only on our senses of sight and touch but also of taste. I am deliberately writing about 'forms' not 'pots', rejecting their utility functions that are rooted in tradition of ceramics. Sacharczuk's art is distant from useful objects and is instead intimately and deeply bound to the personality and soul of its creator which, in my opinion, affects the forms.
Let us begin with the technique. Each and every object formed by the artist was created on a potter's wheel, maintaining the traces of turn, the evolution of matter in the spinning motion, the reaction of mass to gravity forces. During this process, Sacharczuk is not far from the canons and rules of the technique. But if we take into consideration the fluidity of the interior that is tight, declining, pushed deep inside the forms and the matter which almost implodes towards their centres, the question of shaping the space of the works of art becomes interesting. Does it happen because of the outer shape or form? And could it be enclosed in its inside? The forms usually consist of two parts: one turned, having a stable position of the base; the other with the twin-like circumstance which, inverted and put on the top, covers the body, limits the inside communicating with the outside via some holes and splits the opening or closing softly. Joining these elements and fastening them together brings up the idea of wonderful healing of deep wounds making up the whole, whose ultimate integration comes with no doubt. This reattachment creates a closed sphere or a shape similar to it, a dark and mysterious space resembling the inside of a chemical retort.
Furthermore, if we consider waving of the surface and its collapsing into the inside, forming the clay around the holes, which resemble some narrow, some wide--torn sometimes reluctantly--umbilical cords, there appears the impression not so much of organic features of these forms, but rather biological ones. Their sensuality, in my opinion, combines with the actions undertaken almost on the level of primitive rituals. Bozena Sacharczuk's precise gestures of creation, tender matter forming, or covering it with glaze-colour effect in human dimension of her works. They have private character-we are able to take them in hand which can follow the artist's traces, her fingers' paths, the hand can also find the proper limits of the forms, indicated by the artist, the limits being at the same time the implication of emotions and the physical presence of--Me--the creator. Bozena Sacharczuk's concentration on these objects during her work, a close contact with them, forces the viewer to a very close distance while watching them. The hand-modeled structure, enriched with ceramic cover, it is better viewed by the play of light and shadow indoor than by strong light of the plain-air. What matters here is the observer's reaction to charm of the well-balanced proportions and shapes, weights and colours or even the observer touching the surfaces in one case pouring down with some milk suspensions of hardening 'icing' or silky soft ones, in the other case warm, rough and saturated with greys, earth browns and mingled reds ... The catalogue of sensual associations evoked by Bozena Sacharczuk's works remains open; it is very probable that everyone will complete it in his or her own way.
What attracts most in the oeuvre of the artist from Wroclaw is the question of the parallel respecting and avoiding axiality as the composition formula. In the motion inside the circle the central point together with the vertical axis of the form 'exist' even if they are not present--the matter spread on the sides of them take more or less of the space. In Sacharczuk's works one can notice occasionally, and sometimes feel the matter moved 'right' or 'left'. This asymmetry does not spoil the impression of harmony. If the artist preserves within the form moving the points of gravity, distorting of masses and shapes--when the circles are deformed into ellipses and regular trajectories of circles bend in spiral arms of whirling galaxies--they are only pieces of a sequence. The full sense of the form may be revealed yet at the moment of 'putting' it again into the continuing motion. The result of such an experiment would perhaps convince us that both the starting point and the finishing point are the same in the process of matter forming: in the clay slug and then in the form there is stuck entelechia--immaterial force influencing the artist who acts with deliberation.
This deliberation, maybe also some contemplation, getting to know the features of the matter spinning on the potter's wheel and intuition-all together let Sacharczuk 'take off' her hands at the right moment. This gesture--often visible--causes the slight curving of the surface, lifting up the edge, rising the fold or leaving the scar. It also influences the enrichment of her style with other permutations of shape. They refer to the axis included in their space, the primary rule of symmetry, only to transform into expressive works. Although at the very first moment we can associate Sacharczuk's works (possessing a precise, outer line) with forms and aesthetics of Far East ceramics, I assume they are rather 'expressionist' creations, serving individual expiation, the artist's personal feelings. Their sense and contents come from the tension that is born between the form-drawn precisely in the space--and inner distortions of the matter gravity points, which matter moves within the circle of form creation.
I think that all what creates the surface, form emanation and its dark, full of mystery inside constitute the personal expression of Bozena Sacharczuk--in her creation perfectly balanced--combining economical gesture and purifying form which never goes beyond he stated mass of the matter. The most adequate for her definition is abstraction--the value which demands from the artist self-defining and severe self-discipline. Spotting the effects of these creation processes, I take pleasure in noticing every single distortion of the form surface, the changes of drawing and colours visible on them as well as the suspension of single drops above the yet opened and already closing space.
Article by Dr. Andrzej Jarosz
Andrzej Jarosz, PhD is assistant professor at the Department of Modern Art in the Instituite of History of Art at the University of Wroclaw (Poland). Research interests focus on world and Polish contemporary art and mainly Wroclaw artistic milieu and painting of Polish modernism.
|Printer friendly Cite/link Email Feedback|
|Publication:||Ceramics Art & Perception|
|Date:||Mar 1, 2010|
|Previous Article:||Art, technology and the human imperative.|
|Next Article:||Edith Heath: thoroughly modern.|