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A few months ago, I suddenly understood that my craft was a votive practice: a wishfull practice for a world without technology. An ex-voto is an object that we offer to the divinity to thank the god for a gift or to prevent something from happening in the future. In a way, my entire ceramic work is an ex-voto that carry the wish of a world with much less technology. By defining it as an ex-voto I am questioning my practice: to make a wish does not mean that it will happen, neither that it has any impact on the reality. Is that not when the situation is desperate that we refer to a divinity? Is making ceramics a desperate whisper to protect an idealized nature? What is the meaning today to idealize nature while we destroy it by our way of life? This reflects on my own practice of craft regarding to the destruction of nature by technology. The ceramic objects are the votive object, the wish carried by the craft. The picture represents the nature as it is (cf. Trolhättan project) or as we desire it to be (cf. Fragonard project). The project as a whole question the idealization of nature, the idealization of craft and his meaning today in a context of global warming.
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These ex-votos have the shape of a heart, and are made in ceramics. They represent my vow, as a craftperson, to protect nature.
Inside the heart is folded a photograph showing the documents of a trip I did to the Trolhättan Hydroelectric plant.
There, nature and technology are meeting each other in a fantastic and tragic relationship.
Ceramics and the place are therefore in a sensual relationship: Craft, nature and technology embrace each other.
