Kamila Dziedzic

My main inspirations for my ceramics works come from my drawings - lively and expressive recordings of emotions and impressions on paper above all within my drawing I search for contrasts and expression. The drawings are created using my own technique of combining various materials such as wax, pastel, and acrylic medium, which enables me to solidifying surface on the drawing. For several years my drawings have contained shapes of fish. I found fish interesting from the moment I first had the opportunity to admire the coral reef of the Red Sea. The expected shapes and the diversity of colors inspires me and captures my imagination.

Drawings and ceramics complement each other, clay allows one to construct space. I am also interested in creating spatial ceramic compositions made of clay slabs which will interact with each other. It seems to me that such composing - adding slabs, searching for an appropriate place and relations between various elements is a very creative action and provides great possibilities. I am mostly interested in building such spatial compositions made of so called "moving elements", meaning such elements that can be rearranged, the mobility of these parts makes this composition capable of acquiring various setups, generally one can change them all the time, rearrange, set, reset. An inspiration for me are the works of various other artists in ceramics and in other art disciplines. I search for expression above all, energy, natural strength which emanates from these works and motivate. Such an artist is Nicolas de Stael - an abstractionist painter, whose colorful compositions are a very interesting mix of colors and forms. Also the works of E Henderson and C.Casanovas are inspiring, these works are very expressive and lively ceramic compositions. The volcanic nature characterizes Claudio Casanovas’ ceramic works. When watching Henderson’s works it seems that the way in which they are created balances on the edge of their physical possibilities. His approach to the material and a huge freedom in creating the clay, balancing on the edge of its resistance seems to be comparable with walking on a line under the abyss. Accordingly, the whole charm and energy included in these works seems to be founded on risks and author’s precision.

It is possible to see the strength in them, which tries to transfer it to ceramic trials.