The Ceramics Theatre
An imaginary world, seen through my eyes. Very much influenced and inspired by my own experience on my road to discovering the world. The concept of the project started from my earlier experiments in ceramics lithography; from new ideas in collages and sketches; and from the experiment about myself changing in a new environment, not to say, a different world.
The Ceramics Theatre is a project that is still evolving and constructing itself with time and probably is a project that causes a lifetime involvement. The reason of its open-ended construction is the strong relation between me and my theatre characters, the actors. Some of the characters represent me; others people that I have met and known, or that are around me; yet others are simply creations of my dreams.
The theatre as it is now consists of different parts. The third and – for now – the last theatre constructed is strongly influenced by the past actors (naturally) but it depends on much more complicated and deeper characters both in technical approach and in conceptual meaning. The characters are getting closer to a human shape and reveal more symbolism. This part of theatre has more strongly linked to reality. It is an image of control, manipulation and sexuality. For this “play” we need no words or text to describe it – all can be read and understood from the representations of the characters. A strong symbol in these theatrical scenes are the strings that hold some of the puppets: control and manipulation. The appearance of masks and heads indicates confusion. Even if this part of the Theatre has a deceptively gentile and sensitive appearance, it also shows the roughness of femininity and a slight confusion of sexuality. It is a world of obscure lies. The characters are hiding behind their masks while uninhibitedly playing (with) emotions. The dark environment of the scene …. we keep our eyes half-closed and react in denial of what we dislike and/or don't understand.
The theatre performance is accompanied by a self-made composition of sounds, noises, music. It stresses and strenghtens the emotions in contact with the characters and creates an intimate relation with the onlooker.
The video takes a close view of one of the characters, She is brought to life to tell her story. In this video some of the past characters appear to make the connexion between the three theatres.
An imaginary world, seen through my eyes. Very much influenced and inspired by my own experience on my road to discovering the world. The concept of the project started from my earlier experiments in ceramics lithography; from new ideas in collages and sketches; and from the experiment about myself changing in a new environment, not to say, a different world.
The Ceramics Theatre is a project that is still evolving and constructing itself with time and probably is a project that causes a lifetime involvement. The reason of its open-ended construction is the strong relation between me and my theatre characters, the actors. Some of the characters represent me; others people that I have met and known, or that are around me; yet others are simply creations of my dreams.
The theatre as it is now consists of different parts. The third and – for now – the last theatre constructed is strongly influenced by the past actors (naturally) but it depends on much more complicated and deeper characters both in technical approach and in conceptual meaning. The characters are getting closer to a human shape and reveal more symbolism. This part of theatre has more strongly linked to reality. It is an image of control, manipulation and sexuality. For this “play” we need no words or text to describe it – all can be read and understood from the representations of the characters. A strong symbol in these theatrical scenes are the strings that hold some of the puppets: control and manipulation. The appearance of masks and heads indicates confusion. Even if this part of the Theatre has a deceptively gentile and sensitive appearance, it also shows the roughness of femininity and a slight confusion of sexuality. It is a world of obscure lies. The characters are hiding behind their masks while uninhibitedly playing (with) emotions. The dark environment of the scene …. we keep our eyes half-closed and react in denial of what we dislike and/or don't understand.
The theatre performance is accompanied by a self-made composition of sounds, noises, music. It stresses and strenghtens the emotions in contact with the characters and creates an intimate relation with the onlooker.
The video takes a close view of one of the characters, She is brought to life to tell her story. In this video some of the past characters appear to make the connexion between the three theatres.
