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If ceramic arts peaked one thousand years ago in China during the Song Dynasty, then from a global and historical standpoint, where does that leave contemporary ceramic arts?
It was at the Guimet Museum in Paris that Christine Fabre first laid her eyes upon Song Dynasty ceramics. For thirty-five years, the design, especially the crackled glaze, has symbolized for her the epitome of beauty in ceramic arts. Fabre’s adoption of the crackled glaze, that dates to the Han and Tang Dynasties, reveals a universal conviction and life reflection.
In Christine’s own words, working as a ceramist has given her strength and allowed her to look straight into life’s sufferings.
These thoughts are exactly what the LIULI CHINA MUSEUM advocates for in contemporary ceramic arts and the modern-day value we assign to it. Because creativity, in terms of living in the present, with introspection, with profound feeling, even with hesitation, stands for more than a creative demonstration.
What is art? What is craft? We will no longer remain silent on this unending debate. LIULI CHINA MUSEUM’s Why Glass exhibition is our point of view on the contemporary state of glass art. Christine Fabre’s exhibition is demonstrative of this view.
We would like to thank Galerie Capazza for their unflagging support. Their advocacy for contemporary art throughout the years has served been profoundly inspiring.
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We are very grateful to the Liuli China Museum for welcoming Christine Fabre’s works for the first time ever in Asia.
This great artist, well renown in France and Europe, searches for more than thirty years how to express the world feelings through material and shapes.
She started working with clay and “raku technique,” then she introduced other materials, wood, leather in her artworks… a few years ago, was born the triptych idea during a conversation with Gérard Capazza, and Christine started creating clay, bronze and glass works in a series named “Opera Mundi.” One of the artists who introduced her to the specificity of glass technique is Antoine Leperlier, who exhibited previously at Liuli China Museum. Christine tried to find the harmony between these three materials, as if they were coming from the same magma in order to play a unique partition, the opera of the world.
We are glad Liuli China Museum felt the deep sense of Christine Fabre’s artworks, finding in them an expression of universality and choosing to show for the first time at the museum ceramics, together with bronze and glass.
May the vibrations of these artworks resound far beyond these doors, and bring a peaceful feeling to those who will admire them.
