Laure Masson
- 20 avr.
- 2 min de lecture
My ceramic practice exists at the threshold between object and sculpture, between utilitarian tradition and a more narrative, illustrative approach. I work with more or less figurative volumes that are in constant dialogue with their surface. Form is never a mere support; it fully participates in the narrative. An exchange takes place between surface and volume, between the three-dimensionality of the vessel and the two-dimensionality of the image, producing a narrative specific to each piece.
My references draw from naïve art, popular votive art—particularly ex-votos—as well as contemporary illustration, painting, and certain more traditional forms of ceramics. Originally from the south of France, I use red clay and engobes, materials that anchor my work in a Mediterranean memory. This materiality carries a sensitive, almost vernacular heritage that I seek to reactivate through a contemporary visual language.
On each piece, the eye moves through a flow of interwoven images, composed of scenes unfolding at different scales. Landscapes, architectures, and real or imagined figures coexist, overlap, and form a pattern. Together, they create a narrative fabric where personal memories and fiction intertwine.
These narratives function as fragments: fragments of memory, dreams, or projections into the future. They do not follow a linear chronology, but instead unfold through free associations, akin to dreamlike iconography. The gaze moves, assembles, recomposes. The vessel becomes a mental space where different temporalities and registers intersect.
The votive dimension is central. In the manner of an ex-voto, each piece may express gratitude, address a thought to someone important, or carry a wish entrusted to the future. Each scene exists autonomously, yet their interweaving forms a coherent whole—both intimate and open.
