The DNA of Art. The Ceramic Work of Tjok Dessauvage
(Marc Ruyters) The Low Countries - 1997, № 5, pp. 124-129
Great Britain is regarded internationally as the Mecca of ceramic art. Albion has a long tradition in this genre; there exist full courses of study and the artistic climate is extremely favourable to this art form. The specific attention devoted to it has even led to the growth of a separate ceramics circuit, with its own galleries, periodicals, critics and so forth. One of the consequences of this is that in Great Britain the art of ceramics has drifted a little away from the present-day world of the visual arts and is leading a life of its own. It is precisely this kind of segregation that the Belgian ceramicist Tjokke Dessauvage intensely dislikes: he sees contemporary ceramics as just as essential and important as the major arts of painting and sculpture. He does not produce any 'applied' art: his ceramic sculptures are small, closed worlds, marked and scratched by the past, memory and emotion and thus the product of techniques as essential as the painter's brush techniques or the sculptor's welding and carving techniques.
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