Property from a Private Collection, UK Claudi Casanovas Follow Lluna Nova (Juno, La Daurada, Mercè, Nigra sum, Nuria), from the 'Lunar Cycle' series stoneware, fired and polished largest 33 x 70 x 57 cm (12 7/8 x 27 1/2 x 22 1/2 in.) Executed in 2013.
Provenance Erskine, Hall & Coe, London Acquired from the above by the present owner in 2013 Exhibited London, Erskine, Hall & Coe, Claudi Casanovas: 'Lluna Nova' , 1 - 30 May 2013 Hangzhou, China Academy of Art, Hangzhou International Contemporary Ceramic Art Biennale , 12 - 22 December 2016 London, Erskine, Hall & Coe, Claudi Casanovas , 11 - 28 July 2017 Literature Arnauld De l'Epine, 'Claudi Casanovas Recent Work: Lluna Nova and Pomones', Ceramics: Art and Perception , June 2015, no. 100, pp. 33-34 (illustrated) Eva Vàzquez and Jordi Puig Claudi Casanovas Ceramics 1975-2015 , Catalonia, 2016, pp. 253-63 (illustrated and cover) Catalogue Essay 'It is true that a good part of Claudi Casanovas’ work has tended towards monumentality, towards a kind of excess that appears to be a mastadontic and imposing exhibitionism. But, what these pieces say doesn’t strike me as demagogic or vociferous. Rather, they are silent, they celebrate what they are with great restraint; at the most they roll around like the body of an animal in the sun. It’s quite a paradox, because the pieces that he fires are often deliberately exaggerated. In one of the emails that he sends me right after the visit to his studio, he is tempted by the grotesque as it was formulated by Victor Hugo as the contribution of ugliness and the fantastic to the complete perception of its opposite: the sublime. 'I was thinking that my large-format pieces, size XXL, could be grotesque', he writes, 'like the gargoyles of a cathedral'. He shares his chimerical tendency with the Italian artist Giuseppe Penone so present in Casanovas’ prints for his notion of material as a skin with memory, and about whose work he has also commented on the 'monstrous inflection' that has often consisted of introducing into the forest morbid, incongruous and artificial elements that nature ends up assimilating as its own excrescences. On another occasion, Casanovas expressed a desire to have a 'titanic robot, able to model tons of earth'. And if that weren’t enough, he sometimes subjects his ceramics to terrible strains: sandblasting them, bringing them to the boiling point, dropping them from a great height or exposing them to freezing. 'That’s why I make them', he says, 'because imagination alone will only get you so far'.' - Eva Vázquez, quoted in (Eva Vázquez and Jordi Puig Claudi Casanovas Ceramics 1975-2015 , Catalonia, 2016) Read More
Property from a Private Collection, UK Claudi Casanovas Follow Lluna Nova (Juno, La Daurada, Mercè, Nigra sum, Nuria), from the 'Lunar Cycle' series stoneware, fired and polished largest 33 x 70 x 57 cm (12 7/8 x 27 1/2 x 22 1/2 in.) Executed in 2013.
Provenance Erskine, Hall & Coe, London Acquired from the above by the present owner in 2013 Exhibited London, Erskine, Hall & Coe, Claudi Casanovas: 'Lluna Nova' , 1 - 30 May 2013 Hangzhou, China Academy of Art, Hangzhou International Contemporary Ceramic Art Biennale , 12 - 22 December 2016 London, Erskine, Hall & Coe, Claudi Casanovas , 11 - 28 July 2017 Literature Arnauld De l'Epine, 'Claudi Casanovas Recent Work: Lluna Nova and Pomones', Ceramics: Art and Perception , June 2015, no. 100, pp. 33-34 (illustrated) Eva Vàzquez and Jordi Puig Claudi Casanovas Ceramics 1975-2015 , Catalonia, 2016, pp. 253-63 (illustrated and cover) Catalogue Essay 'It is true that a good part of Claudi Casanovas’ work has tended towards monumentality, towards a kind of excess that appears to be a mastadontic and imposing exhibitionism. But, what these pieces say doesn’t strike me as demagogic or vociferous. Rather, they are silent, they celebrate what they are with great restraint; at the most they roll around like the body of an animal in the sun. It’s quite a paradox, because the pieces that he fires are often deliberately exaggerated. In one of the emails that he sends me right after the visit to his studio, he is tempted by the grotesque as it was formulated by Victor Hugo as the contribution of ugliness and the fantastic to the complete perception of its opposite: the sublime. 'I was thinking that my large-format pieces, size XXL, could be grotesque', he writes, 'like the gargoyles of a cathedral'. He shares his chimerical tendency with the Italian artist Giuseppe Penone so present in Casanovas’ prints for his notion of material as a skin with memory, and about whose work he has also commented on the 'monstrous inflection' that has often consisted of introducing into the forest morbid, incongruous and artificial elements that nature ends up assimilating as its own excrescences. On another occasion, Casanovas expressed a desire to have a 'titanic robot, able to model tons of earth'. And if that weren’t enough, he sometimes subjects his ceramics to terrible strains: sandblasting them, bringing them to the boiling point, dropping them from a great height or exposing them to freezing. 'That’s why I make them', he says, 'because imagination alone will only get you so far'.' - Eva Vázquez, quoted in (Eva Vázquez and Jordi Puig Claudi Casanovas Ceramics 1975-2015 , Catalonia, 2016) Read More
/uploads/items/item_2084358/92295-13_c_1571849011.JPG "Source: Maak")
Try LotSearch and its premium features for 7 days - without any costs!
Be notified automatically about new items in upcoming auctions.
Create an alert
.jpg "Source: Christie's")
.jpg "Source: Christie's")
