Artist: Carina Ciscato (b.1970) is a Brazilian ceramicist from Sao Paulo. Ciscato was introduced to studio pottery in Krefeld, Germany, where she spent one year working alongside Marietta Cremer in her studio. Upon her return to Brazil, Ciscato undertook an apprenticeship with Lucia Ramenzoni, one of Sao Paulo’s leading ceramicists. Her relocation to London in 1999 saw Ciscato become assistant to the studio of Julian Stair and Edmund de Waal. This move and the change in cultures and attitudes to ceramic prompted new and exciting directions for the artist. Ciscato established her London studio in 2003 in Vanguard Court, South London, where she works today. Since 2001, Ciscato has participated in numerous group shows at prestigious locations in London and across the UK, alongside shows in Japan, Brazil and Europe. Her work is enshrined within the V&A Museum collection and the Devonshire collection, as well as significant private collections internationally.
Description: This unique asymmetric plate exhibits a cool grey glaze and softly raised ridges; emphasising the contrasted fluidity and sharpness of form, reinforcing its decisively notched rim, carved edges and organic curvature. Masterfully crafted by artist Carina Ciscato, through this work the beholder is encouraged to discover a hidden beauty beyond function and predictability, as the artist questions space and volume, function and purpose, balance and fragility, in search of a purer aesthetic that allows for new observations and ways of seeing and perceiving, rendering the object redefined and reinvented.
Working primarily in porcelain, Ciscato explores the limits of her material through throwing on the wheel then later tearing, cutting, folding and stretching to assemble her pieces. Porcelain’s duality of strength and fragility allows the artist to materially explore form, spatial perception and structure in new and challenging ways. Carefully conceived, her spontaneous and fluid works speak of their process, which is exposed and revealed through their layered construction and exhibition of subtle marks, which are gently applied either directly after throwing on the wheel or when the clay has reached a leather-hard stage. This allows new relationships to emerge, as while Ciscato’s works all belong to the same familial beginnings, formed on the wheel from replica methods and shapes - a base, sides, sometimes a lid, each ends with its own unique characteristics which cannot be reproduced.