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e €iE JiFr.fr++iei/JiFnF'E+frlnterview: Longquan Celadon vs. ICH

11 |tts5fr+, HHlFefiHTradition and lnnovation: Celadon Ware

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64 +8, XFEA!friFLl Bei: Story of Time

$€Z**llffi Artist Profile

17 F{= .RFffE UEr+i!.E!F6HZ7li+n?dAlan Peascod: Undisputed Leader in CeramicArt

47 rt#^.trfiFf , ffitraEXavier Toubes:Tunneling into Clouds

E F?'Feil Zifr dJ lnternational Ceramics Events

34 2010+ffi44=eX@W#+eLeR44th NCECA 2010 al Philadelphia

5e 201}+1fltAsoFAztsaSOFA New York 2010

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24 rn'Eurl-it5#. eaffirrWZ,Double White, Double Red- Appreciating the Ceramic Works of BAI Lei & BAI Ming

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e0 xr# (+iFRfr&eE)Porcelain Work of the "Night Revel of HAN Xizai"

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Melodien - 2004-01 ,260 elements (Porcelain plates, Lustres) 1 95 x 600 cm l7 l x 237")at Centro Galego de Arte Contemporaneo {CGAC) Santiago de Compostela, 2007(rfe) (2004-07 ) le5x600cm; 260,l#€, +tr-tf" 2007q-&rrfl6itSltZzk +,i.,Efi"

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Xavier ToubesTunneling into Clouds

Brflft\ 'Efr'ffi= tfiiE=EVincent McGourty X#++ . €,=,iE

few years ago, I had the prlvilege to be asked to curate a large show ofthe work of Xavier Toubes. My mind was cast back immediately to a storyhe once told me in his studio. lt was in response to my question about

how he might best describe his activity. With small rodent-like gestures he actedout the tunneling and surfacing routines of the common or garden mole. Whetheror not by accident, he had selected the same subterranean mammal that thepesslmistic philosopher Arthur Schopenhauer had chosen as emblem of thehuman enterprise. One characterized by futility: the shovel-pawed mole's wholeexistence is to dig strenuously surrounded by permanent night; its only attainmentby this course of life, full of trouble and devoid of pleasure, being nourishment andprocreation; a means for continuing and beginning again in the new individual thesame melancholy course.

ln contrast, the artist embraced the mole as a sort of practical excavator:immersed in matter and the immediate situation, not in possession of all the factsbut nonetheless moving about to search possible routes and avenues. Using its

body to move matter, displace it and pop up in the most unexpected of places. ltswhole existence engaged in a ceaseless search rather than imprisoned in a hellishloop fueled by the desire to hollow out a future. There is redemption in the artist'svision of our animal nature. The idea of the spiritual is something practical and

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I LLUSTRATION K,Hii,EJ .

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Lustres il,r'J,4')E, +nthlfl, +tr*dPolvo2 (ffA1 ') -20a2.26x29x85 1/2" (66.5 x73.5x217 cm).Polvol (M43) -2002.17x19 112xl3 112" (42x49x184cm).Co lection: Centro Galego de Arte Contemporaneo (CGAC)

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material for Toubes.Paradoxically, alongside this most- creaturely of metaphors, the artist has long been

drawn to the aerial, disembodied one of c oud, a vaporous mass which can representa shifting density suggestively able to embody continual morphology. As an agent ofmobi ity, constantly being on the move, it has f urther relevance to the artist's work.Movement as a transformatlon process is a central tenet of it. A notion of continuityexpressed as a process of mutability. The cloud as open-frame container able toencompass an amalgam of disparate elements has taken the form of recent wa l-mounted collages. Order is f leeting. lt is not so much a meteorological association thatis sought but the looser, shifting formation of a massing of vo atile elements. A s ick

of cultural flotsam (an image of the artist felgning ejaculatory vomlt to demonstratehis approach to luster and glaze fixes in my memory) composed of the residual andperipheral. A dialogue of things which embrace instability. The migratory is notfortuitous here but primal. Aliveness is precarious and uncertain, awkward and risky butin the affirmative. Contained within structures expressive of the contingent, their fragilitytangible.

Everywhere in the work we see the actjon of the body that of wrist, fingers andpalm; indentation of thought, projection of inner proscenium. This agitatton of the body'spresence insists on the corporeal but held in tension by a constant dissoiution of mass

and vo ume. The liquid treatment of surface, the thawing out of form always on thethreshold of becoming something else, another state of things. ln Toubes's work it is a

sense of in-betweenness which is maintained as the reaim of the imaginary. (2010)

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Xaoier Toubes:

Thoughts aboutIntuition and Practice

(Article aboutthe lecture at NCECA, Philadelphia, USA, April2010)

I will refer to my most recent exhibitions: Behind the Fields 2007 and Lustre

I 2009 to talk about a working practice as a process to discover and toI abandon. Made with the palm. As the poet said, made with the palm at the

back of the mind. For the senses, iridescent, in pieces and fragments, theatricalwithout a theme, insecure, liquid, volatile, detached, metallic and rich; bold, anxiousand surprising when ornamental, capricious, restraining pain, disenchanted,overabundant, close to lost and lust, in progress, with chance as a partner, to namefact and some ideas.

The work pursues experience of the senses appealing to a swift and open mind;an invitation to take home 'some-thing'with light.

There are constants in the work: place and out of place, art, tradition, color, rawand rash, alchemy, sculpture and digital, landscape and blue prints for house ofmeetings, a place where the conceptual, the archaic and the modern share siteand time with the local and the universal, the multiple and the original and memory;serious when close to lost and truth: stuff of humanity.

The installation regards the moment with emotion and physicality and thepotential of the display as theatrical, commenting on the speed and comedy of theephemeral, performing surgery to distill and be quiet, mostly light and presence. lt

ILLUSTRATION KHi,NEf

Up: Description 09-09 * 2009.214x78.7 x66 cm. Fired clay, Glazes. Plinth

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Down: Descriptions without a place - 2009.2.82 x '1 1 m. Fired clay/ glazes,lustres/photographs/ink on digital prinVguache, pencil drawing on photograph

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ARTTST PnOFTLE I W Z,Ae!ffi

The Clamorous Passion of the Silent Clay#ifiHtffiil+-S[HEEHtifrlF

Antonio Vivas F.RtrzN. ffiFuffi

foubes like Ulysses, is on his way to lthaca, he is like some

I of his works, an exquisite nomad, a metaphor of a crossI road of Galicia, Spain, Holland and the United States,

basically a universal creator perplexed by the lack of rationality ofmankind.

All this poetic tribulations were always present in his ceramicwork, a body of work always changing but demanding the returnto comprehension as an eternal value, certain symbols stay vividlyin his main expression, figures, objects, plates, murals and more.

Without regarding the size, his ceramic sculptures are alwaysmonumental, even megalithic, must be the inspiration of thosehuman expressions that invade our historical memory and provoke

the images of our identity since the start, thousands of years

ago when a hunter modelled a clay figure in a cave for a spiritualceremony.

Like Don Ouixote, Toubes attacks the windmills of injustice, the

ceramic sculptures intentionally named "warriors" reflect the cryof the artist to denounce the evils of power. Perplexed faces thatsymbolize the cry for change and the return to the real values of atrue civilized society, like the broken sculpture in the beach of thefilm the "The Planet of the Apes", those figures and particularly theheads have that singularity that attracted Modigliani in the Africansculptures, even the pre-Columbian sculptures in the ceramicsof Gauguin. Whether the struggle is dealing with painting,

installations, sculpture, or ceramics, Toubes has a restless needto express himself in a creative way, even in a very tortuous way,like Giacometti, he breaks, pulls, adds, takes out, assembles,disassembles, starts again, stops, starts and all without a previousplan, it's real art in a free space, always looking desperately for theright equilibrium, the sparkle of inspiration, the breath of the gods

on clay, learning from the past to go beyond it.

He is always learning, so he can forget, so he thinks, becausethe fingerprint of life will always be there, at times he opens thePandora's Box and out it goes.

Ceramics could be peripheral in art, at least in the west; inthe Orient they know better, the world of Xavier Toubes places

ceramics in the main stream of the art discourse.His oeuvre is symbolic and diabolically expressive, yes

we suspect he has an agreement with some gods or deities,otherwise we could never explain his ability to touch the divinematter, in this case, nude clay.

Some of his pieces are in love with the moon, are wanderingnomads, exquisite or desolated figures in the barricade, light and

sound, music and poetry all in his ceramic creations. Ceramics is

man plus nature, modelled in clay, in the still life of contemplation,he demands to stop the world, he want to get out, but where can

we go? We will always be the nomads, exquisite or not.

In his last exhibition at the Centro Galego de ArteContemporaneo (CGAC Museum) we saw with pleasure the turnto complexity in his work, total art, we could say, plates withbroken images making a mural in the wall or a spatial installations,even the use of drawings, photographs, sculptures and ceramicsall together, his latest work has a maturity of solid creationbut inexplicably he has maintained the sparkle of spontaneoussingularity, characteristic of the great masters of ceramics.

Antonio Vivas, Editor, CERAMICA Magazine, Member of the lnternationalAcademy of Ceramics

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points to an intention: the incongruous search for beauty.Notions of work- labor and the persistence / inconsistence of

practice as learning are considered and complexity as a concept and apractice but also complexity as form and a surface.

For instance the pieces 'Melodien' and 'LimChi' are made ofporcelain plates that have gone through multiple firings, reinventingmeaning and destiny/context. The pieces are stored as soon as theycome out of the kiln to provoke and initiate with each new workperiod a "fresh and new" dialogue in the studio, whereby knowledge,intuition, work, erasing, gesture, system, emotion, method andsurprise cohabitate in an intense mutation where the past and thespeed of the process influence each other, reconfiguring the formand the content, it's possibilities and meaning untilthe installation (at

times months away) when the work attempts to be "new and fresh"again.

It's a way of thinking and working that grows into a system whereideas about art, ceramics, alchemy, intention, beauty, poetics mixwith notions of creation and connectivity to the hectic-ness of theworld: descriptions. lt's also an argument for the resonant value ofceramics as a language, history and medium; as an art practice uniqueand pungently contemporary, cross-referencing cultures, methods,mediums and ideologies: The search for a language, where intuition,knowledge and passion share a frail balance, exploring meaning andplace in art and in the world.

Something like a new vocation: to give brilliance to matter andwager that it will have a future.

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Descrptons without a pace 2 - 1989.500 x 70 x T65 cm. Flred cay, mutrple firngsnsta latlon at Fosd ck Ne son Gallery, Alf red Un versity, Alfred, New York,. )iEltF,t6'tflib2 " ) ( 19Bg ) 500 x 70 x 165 cm. fiik)Fz. 4hlfiFi"

$. l t1 4 F;l R fr E 1,8.a + iE.H.t ir! L . Fi fi + rel /Err,tr rt], t!! 4t H it,SPhoto lS'1 , Xavler Toubes tA+B . E fr\fi

Xavier ToubesBorn in A Corufia, Spain He worked in an international Bankin Spain and London until 1974. He attended University ofLondon Goldsmiths'College (1974-77). In 1977-78 workedat Winchcombe Pottery, Gloucestershire. ln 1979 he spent ayear in residency at the Seminario de Estudias Cerdmicos deSargadelos, Spain. From 1980 to 1983 he attended the New YorkState College of Ceramics at Alfred University. After graduatingwith the Master of Fine Arts, he taught in the Aft Department atthe University of North Carolina at Chapel Hill until 1993.ln 1989 he became involved in the creation of the EurapeanCeramic Work Centre (EKWC) in's-Heriagenbosch, TheNetherlands, and was the Artistic Director from its opening in1 991 until the autumn of 1 999 when he started teaching at theSchool of the Aft lnstitute of Chicago.

W ffi E' l5 ft' 4F U H T 6 tlI T & t:l * trr ![. 1 e 74 S ffi f* HN f -'A6W+R11, * &Wvfi * rtnftgl r.f€. 1 e7 4 * 1 e7 7 +frtj* T {t 9( tlF " t st s'4, ltJEWrEfr Atrsa rsa d e los 116 Z r 1t R efr it'IjI 1i l&tU

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i LLUSTRATI O N Ei,Ei i,ii,',E

Opposite page TliT , Lozas 1 999. 1 86 x 75 x 1 80 cm. Fired clay, glazes

Collection: Caixa Nova, Vigo, Spalnr. lJk]#: ( 1999 I 186 x 75 x 180 cm" itrr'i,k;Ft.. T#t{E! llI4 tL lifr Caira NovalRlr 4i,ffi

2 Augas - 1997 - 2?0 x 1 50 x 1 80 crn Porcelain#Co lection Centro Ga ego de Arte Contemporanea, Sant ago de Con.rpostela

lEliIrI +lt1[+ - ietL)iFfi+slnfrlrf lErlr =

ft5t,1.,1'qtffi

3 2 nubes -1997.2Ax2?x14 cm. Poroelain, Lustres, Acds.i.6+=l (1997 ) 28 x22x14 cm. #*. +1,4Tt]l. 6i!]ll$

4 Ameba 1995.72dlameterx 1'l5cm. Fired clay, MaolicaPrivate co lectlon. A Corufra, Spa n

,. Allu 4. ) I lss1 ) 72811+ x 1 15 cm. rftilr(tih. itfd[+,]r- l,or '.i '1'tiil-r

5, Aguas largas - 1 992-93. 1 50 x 60 x 1 75 cnr. Fired clay, glazes fijf()Fr. Tdr,ljl

Collection K aus Peter Flscher, Frankfurt, Germany/Sparn!Lh:f{r .'1t11+ . jEa lFtrl,\ r]tid+lg tr )*r }rift

DuraMater - 1993. 12 x22x16 cm. Fired cay, porcelainPrlvate co lection Spain.. tFf&,lF r ( 1993 j 12 x22x16 cm. llil<i,E. '.4

fL,\rltffi+-6riT4

Pecon Flor- 1984. Overa : 13 x 13 r5 1/2 in. {33x33r 1,1cm)Col ectlon: Ackland Museurn, Chape Hi l, North Caro ina

Itr?iiltflr ) ( 1984 ) 33x33x 14cmIt+I*lrlt| +f +'I1l [']H.: t.$lltl';E-Je#i

B, Fiedl 1994. 165x82x17crnF red c ay, Maio ica, LustresCollection Klaus Peter Flscher, Frankfurt,Germany/Spa n

iJh2', { 1994) 165x82x l7cnr"dt'i(tFr. tBfd r€1. +,trtdttfiFfi . 't|i+. li.+ir,fu,\qf ,ffi1-,€ldl)*=fi,iE

9, El pedeMguel Angel -1995.:2' I ln ,40 cn tri .d ial.

Porcelain,Glazes.

i ,F/+ FIFF {l.rE14! ) ( 1995 )

52 x I10 x 40 cnr. ir,riL)8. i+. jfdr++

Photo (exclude 2, 11. ?eer v. d. Kru s

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ILLUSTRAT]ON K,HiiSN

Exquisite Nomads - 1985. 170 x 160 x 103 cm.

Ftred clay, multiple-firings, found objectslnstallation at The Ackland Museum, Chapei Hill, North Carolina, USA

1 985(1rit€6!)n)R*) ( 1e85 ) 170 x 160 x 103 cm. ffii-(;,e. &)R'W,fr^ u.fr.+hEL1 e8s+a=trlb Fryxt6 lr1 &H il lFrH=jg%G,ES f!#Eif fl

2

34

Descriptionsfld - tggtExquisite Nomads - 1984

Exquisite Nomads - 1992

head). Fired clayTaipei Museum(({rirF6!atR*) { 1ee2 )

AJb+ATE'Effi

5

61

Photol"EF7, Peerv. d. Kruis,Qfi ' tEigHglFF,tExquisite Nomad - 19e3 ((1ritE6!;ii)ti#)Exquisite Nomad - 1994 (1Jtte6!)h)R*)Exquisite Nomad - '1999. 52 x 45 x 85 cm. Fired clay, glazes.

Private Collection, North Carolina(lJitE6i),lttR*) ( 1999 ) 52 x 45 x 85 cm. ffif .()Fr. fdt{.tb.Fry*1^fd,\ltffiPhotofHi'/, Peer v. d. Kruis,Qfi ' fr.lF.fr.glFtfrExquisite Nomads - 1990 (('lrttF6!)htti*)Exquisite Nomad - 2003. 54 x 51 x 1 07 cm. Fired clay, glazes, lustres

Prrvate Collectlon, USA(1JrtE6!)fitR#) ( 2003 ) 54 x 51 x 107 cm. fif.t)Fr, ffifl, eEfd+EA,\rliffiPhotol&.?,, Gary HendersonTt[E . 9lF#

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(1tt€8!;,:ft;R*)110 x 34 x 60 cm (35 x34 x 60 cm each

tr1'*l* 35 x 34 x 60 cm. fi1..&.)Fr"

1 0, Studlo in 1987 llE4-ffi