Contornos Cerámicos: España y Portugal [Contornos Cerámicos: Spain and Portugal]
Considers the ceramics exhibition Contornos Cerámicos on show at the Posada del Potro in Córdoba, Spain (2003), featuring 60 works by the Spanish ceramists Javier Fanlo, Madola, and Ramón Paredes, and the Portuguese ceramists Virginia Frois, Vanessa Santos, and Sergio Vicente. The author outlines th...
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Published in | Cerámica (Spain) no. 86; pp. 32 - 34 |
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Main Author | |
Format | Magazine Article |
Language | Spanish |
Published |
01.01.2003
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Online Access | Get more information |
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Abstract | Considers the ceramics exhibition Contornos Cerámicos on show at the Posada del Potro in Córdoba, Spain (2003), featuring 60 works by the Spanish ceramists Javier Fanlo, Madola, and Ramón Paredes, and the Portuguese ceramists Virginia Frois, Vanessa Santos, and Sergio Vicente. The author outlines the background to the international exhibition, which has previously been held in other Spanish cities, and notes that it is accompanied by practical studio demonstrations of the artists work. She explains that Fanlo s interest in ceramics stems from his study of archaeology, states that Madola is currently planning large-format ceramic pieces for a public square in Barcelona, and examines Paredes's use of signs which are reminiscent of Arabic inscriptions. She discusses Frois s interest in large-format ceramics based on organic forms, considers Santos's porcelain pieces based on human bone structure, and comments on Sergio Vicente's large-format modules inspired by the molecular structure of plant forms. |
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AbstractList | Considers the ceramics exhibition Contornos Cerámicos on show at the Posada del Potro in Córdoba, Spain (2003), featuring 60 works by the Spanish ceramists Javier Fanlo, Madola, and Ramón Paredes, and the Portuguese ceramists Virginia Frois, Vanessa Santos, and Sergio Vicente. The author outlines the background to the international exhibition, which has previously been held in other Spanish cities, and notes that it is accompanied by practical studio demonstrations of the artists work. She explains that Fanlo s interest in ceramics stems from his study of archaeology, states that Madola is currently planning large-format ceramic pieces for a public square in Barcelona, and examines Paredes's use of signs which are reminiscent of Arabic inscriptions. She discusses Frois s interest in large-format ceramics based on organic forms, considers Santos's porcelain pieces based on human bone structure, and comments on Sergio Vicente's large-format modules inspired by the molecular structure of plant forms. |
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Title | Contornos Cerámicos: España y Portugal [Contornos Cerámicos: Spain and Portugal] |
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