The substance of the form

Images and connections continually pass through us, like empty spaces where the substance of the form gradually vanishes

VICEPRESIDENT APS PANDORA ARTISTE CERAMISTE

Salerno Italy

MIRIAM GIPPONI

as the identity of the person vanishes: creative experiences in response to the search for the self.

In a world pervaded by images and connections that flow and cross us continuously, emptied in content like disposable voids, the substance of the form gradually vanishes as the identity of the person vanishes and is canceled out in the virtuality of a parallel "existence". Never as today, where the sense of disorientation and lack of identity is increasingly evident, the search for a cure and a rethinking of the values ​​and priorities that have led to so much become necessary. The intrusiveness of technology has gradually generated a separation between hand and mind, between technology and science, between art and craft, with consequent suffering of the psyche. Hence the tactile activity of the creative act of manipulating the clay and generating an artifact is one of the main practices that relate the mind and the hand in a unique and all-encompassing experience, full of emotions and sensations that restore wholeness of the self! The clayey earth, mother of all ceramic creations, which since its origins has accompanied humans from hunters to breeders, can still represent a guiding tool for the search for the self. It is in the form, in the manipulation that progressively refines it and in the design in the making, that the potential abstract idea, rooted in the mind, blossoms into a real material object. The form becomes substance here because the awareness of the process, of the possible techniques that the medium allows, of the creative choices of those who make it, reinforce its identity, giving everything the right meaning. The tactile and concrete experience of doing must be considered indispensable, especially for the new generations who, increasingly connected to virtual reality, give less and less space to the concreteness of manipulative activity. The conscious use of ceramics as a medium and tool with a complex and wide-ranging value represents the path traced by the Pandora Artiste Ceramiste Association in its years of activity, together with the search for the identity and affirmation of women in art and craftsmanship and more. Numerous and on several fronts are the projects developed by Pandora, always guided by the awareness that ceramics can be a great resource, both as a creative and educational means and tool, to respect oneself and others, but also an opportunity for meeting of different ideas, people and cultures. Therefore, the guiding principle of Pandora is that of the comparison between women who share their experiences, skills and techniques through ceramics, well aware of the power of this medium and the power of beauty as a treatment tool with broader implications. Among the projects, the collaborative works, or even better "Choral operas", created over time by the Association, have become its distinctive note: a real moment of expressive sharing and common creation of the potters. From the relationship and exchange between artists, projects and events were born with a female gaze, with the hope of conveying a cultural process of change. A hope that materializes in facts by re-appropriating broken ties and relationships, through a new and global vision that goes from West to East to generate art with ancient roots and an eye to the future.

BOX

THE CHORALITY OF PANDORA
The collaborative works, an expression of the relational art created over time by Pandora, are from time to time a synthesis of the shared human and creative skills of the artists from various parts of the world. Energies and experiences that come together and feed each other to generate unique works, the expression of a creative action that from the local and its traditions is concretely linked to a global and contemporary vision.

insights

IMAGES

Details of the collaborative work "Pandora Women of Earth Women of Fire." Brussels Parliament EU 29/9-2/10 2015. Since 2020, the work has been part of the contemporary collection of the National Archaeological Museum in Pontecagnano (SA).

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