What is it about being between wet clay and its table? The table as I write reverses the direction of spin. A person – incidentally or not this person is a man (more, or less, on gender later) – this man again begins shaping the clay object, then delicately dipping his fingers in water (this last is heard and not seen), he subtly reshapes the clay thing (thing or object, NOT a vessel, I sense).
Is the woman, the artist, in a yoga position? Backward leaning Buddha? I see that her hands brace her, they grasp white handles (white and flesh are the tones of this piece) and I think for a moment of structure, and of the three legs in the Sphinx’s riddle. The shape of the clay is sexual – a vagina and an asshole – and it also speaks of gender, though not much. The shapes speak more of life in general than of anything specific. Huh, I am seeing now the lip open, revealing… well the base of the clay looks a bit like the soft head of a baby.
Moving to another screen, I notice a brace at the woman’s back – again in white, like the table. Wet sounds predominate, or simply dominate ( :
The clay sculptures on their white base look almost yranslucent, without being that. They are tubes and their openness feels fragile and also hungry. They look like sea creatures.
Accompanying the wet sounds are mechanical ones, hums and shifts. I watch as one thing is closed to make a small hole, then a nib. The hands once again press and touch and enter – here, not there. Yes. Mmmmh.
Melodie Mousset at Susanne Vielmetter Los Angeles Projects.
Real time via iPhone. 2:00 PM, Thursday, Septber 26(7), 2012. (and again at 6:50 pm)