Artist Statement Text (Eng), AML, 2015
For AnneMarie the essence of ceramics is about creating unique pieces with a profound material connection.
Therefore she emploies a serial work-process, beginning each piece on a potters-wheel, throwing large numbers of vessels, containers made of clay.
Yet, the plasticity of the material invites her to go beyond the thrown wall. Folding, twisting, pushing, stretching… the thin-walled vessel is subjected to all kinds of manipulations. To enlarge the sensual involvement with the material she tests and explores its physical boundaries.
After altering a series of forms she assembles them to create an organic abstraction as an open invitation to feel the constraint tension, to discover the vivacity and the altered touch.
Using thrown containers as a starting point Anne Marie makes unique undulating, anthropomorphic forms integrating the significant and well known meaning of a vessel.
AnneMarie Laureys, The Pot Book by Edmund De Waal ,Phaidon, UK, p 160, 2011+ 2015
AnneMarie Laureys likens the outer clay walls of her vessels to skin. She has powerful sense of the physicality and the sensualtity of clay, of its movement and of its strenght.
The wrinkled skin-like sides to this double vessel are typical of her Clay-e-motion pieces: she has used the playful action of her fingers against the soft, still wet, thrown clay to change the form entirely, upending it so that the opening and base are almost in rotation, still moving despite it being a fired static piece.
Laureys’s works can appear quite menacing at times, as the convoluted, sometimes slightly disgusting interior asserts itself through a shimmering glaze or a colour much brighter than the outer ‘skin’ wall. The visceral nature of her approach to making and the animated sense of the interior pulling against the exterior disturbs and undoes the notion of a vessel, the container, as an object of comfort or serene contemplation.
Contemplating Laureys’s seething pots can be a very unsettling experience…
Artist Statement Text (Eng), AML 2014
For me the essence of ceramics is about making things with a profound material connection.
Making contemporary ceramics is an exchange of ideas by the maker with the material, clay. Making craft is a persistent exploring of the unlimited possibilities of materials and processes to create a unique piece.
Very specific for me is the liaison between body and material. The mechanical body, my muscles and hands, the sensuel body of touching, the emotional body as a treasure of experiences, the social body being a human amongst others and the thinking body ventilating ideas.
I do employ a serial work-process, throwing archetypical forms on the wheel. Yet, the plasticity of the material invites me to go beyond the thrown wall.To meet the sensual involvement with the material I test and explore its physical boundaries.
After altering a series of forms I do assemble them to create an organic abstraction as an open invitation to feel the constraint tension, to discover the vivacity and the altered touch.
These ceramic objects have a dynamic sensuality that pushes the malleability of the ceramic medium and the fluidity of the glazes to the extreme.
