Mary, the challenge in the ceramics

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In the creative process of these artworks, they are questioned within the parameters of the contemporary logic: just as fugacity, experimentation, the multidisciplinary discoursive practice and the conceptual weight on which the artwork sustains itself.
Its highest motivation is the resulting break from the burning of the clay when it turns the ceramics inflexible and moving it in a playful way, thinking.
Creation and audacity,crossings, contacts, frictions along the process and the willingness of cancelling the first function of the shapes.Creating other shapes, another time for them.
Each process moment is related to the involvement with the nature, used as an integration with the shapes, creating a play of transparency and lightness. How to integrate weight and lightness.
It is a construction between the ceramics and other materials/media which mixes image references and the fictional weavering of the memory. Is it a creative and interpretative process?
The animated artworks pass through other crossings.
They must be exhibited in looping and in a louder sound, because the sound definitely confirms their movements.The moment of silence of each animated artwork, is important to be observed, It is a reminder of Koellreuter’s lecture about “the silence of music”.
The developing process of these animations has the purpose of, in all times, to reframe, and transcript their shapes.They provide the look of a new perception at each instant of the artwork.
The necessity of respecting the essence of the artwork runs through its animating singularity of constructing, desconstructing, reconstructing its shape. This allows a new relationship with the spectator, who has always the exercise of looking, questioned.
Rafael Trindade (assistant in this animation process) understands that the initial idea of this Project is to appropriate these elements of the artwork for desorganizing its idea of rigid and immutable.