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Kaolin visar Chris Vicini. Det är en personlig och samtidigt allmängiltig berättelse om oss människor och våra tillkortakommanden. Det är en kritisk betraktelse över mänsklighetens oförmåga, skapad i porslin. Utställningen är bemängd med referenser och Chris arbeten är mycket detaljerade. Kaolinbesökaren som förväntar sig strama bruksföremål kan nog komma att sätta vernissagevinet i vrångstrupen. Vi tror att Chris Vicinis skickligt genomförda värld ska ge våra besökare en annorlunda och tänkvärd utställning. Chris Vicini har varit en flitig utställare i Sverige de senaste åren. Han är född i USA och numera bosatt i Göteborg.
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Idiotheim Id-i-ot: 1. A foolish or stupid person. 2. A person of profound mental retardation having a mental age below three years and generally being unable to learn connected speech or guard against common dangers. Heim: Suffix, German/Norwegian word meaning home or abode “The definition of insanity is repeating the same action over and over again and expecting a different result”. Albert Einstein. Conceptually I borrowed from the Norse Mythos for this body of work. There are nine worlds, which compose the Norse Universe. The most well known are Asgaard (home of the Aesir gods), and Midgaard (Earth). The lesser-known worlds Hellheim (home of the dead), Alfheim, (home of the Elves) most often use the suffix noun heim meaning home. Joseph Stalin famously said “One death is a tragedy; one million is a statistic”. This cynical quotation elegantly describes humanities inability to grasp the true importance of events beyond our own circle of influence. This is quite possibly our most tragic flaw as a species. It cripples our ability to mange resources for future generations, and leaves us with little empathy for humanity on the whole. I created my own world in porcelain. My addition the Norse Mythos, the 10th world, is called Idiotheim. It is a world where insanity always triumphs over reason, and idiots rule. It is a world consuming itself even as it struggles to be born. Hieronymus Bosch’s “Garden of Earthly Delights” was a strong influence. An incredibly detailed triptych, depicting the ruin of mankind, and it’s decent, and torture in hell. The painting has a surrealistic tone, which is unprecedented for the time period, but was executed with the skill of an old master. One gets the impression when viewing the painting of seeing through a looking glass into the heart of insanity. For this series of work I tried to examine the human animal as both a rational and emotionally driven being. Once again I have used animals as a representations of human psychological states. I often use rodents as subject matter in my work. I am aware that they are held in low regard, by most of humanity. At best a rodent is a vulnerable prey animal, and at worst a filthy pest. In my work they become metaphorical self- portraits, and allegorical representations of humanity. Historically speaking humanity has chosen more majestic animals as symbols. Lions and eagles were always popular! The truth is we share far more with these humble creatures that inhabit our cities and even our homes then most of us are comfortable admitting. I am often asked why I work exclusively in porcelain, a material that is notoriously temperamental. I think porcelain has integral beauty that is without compare! That alone is reason enough, but I also enjoy the challenge of gaining mastery over the material. I use very traditional techniques to make my work. I have researched old world techniques and combined that knowledge with a lot of trial and error! The Animal sculptures are constructed of solid clay mass, with armature of paper and wire underneath. When the modeling is finished the sculpture is cut into pieces and painstakingly hollowed out till only a shell is left over. Props often need to be constructed in the kiln to support the piece throughout the firing The Floral, or “Bocage” pieces begin by constructing a hollow under form, which will support the latter additions of the flower elements. I make the flowers and other individual parts separately and store them in special containers until I have accumulated enough to complete the piece. Larger pieces can take over a month to complet /Chris Vicini, Spring 2010
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