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Christine Fabre began working with ceramic in 1975. Years later she came to Paris, a city charged with history, and discovered an object at the Guimet Museum - a long-necked porcelain vessel from China. “A pure form, especially in its cracks that dance across the lengthened neck; what technique created this effect?” She quickly became intoxicated by glazes the color of ink, of milk and the spiderweb of cracks running across the surface. Return to China is the artist’s homage to Song Dynasty porcelain.
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When Fabre made the decision to lay bare the clay’s surface, she experimented by removing each fiery piece from the kiln and covering them with sawdust or feathers to create an organic surface while they cooled. Each object reverberates with the artist’s “touch;” simple yet brimming with emotion. Curator Chang Yi describes her work: “Christine creates such gentle and abstruse universes; the opening of each vessel bears the mark of her fingers.”
Yet no art should be categorized by its technique. “Art is a phenomena that forms naturally within, it is what irrigates strength, it is what fills the soul.”
Fabre’s objects recall Marguerite Duras’ words and Simone de Beauvoir’s beliefs. These women who Christine Fabre admire use their natural female strength to redefine their selves.
