I feel exited, having some new pieces of minerals, just arrived in my studio. Testing random pieces of the earth, within the bodies of my pottery, couldn’t be anything else rather than fascinating!

All the pictures at this little post, are of earlier efforts of mine,to understand  minerals. But it doesn’t really matters. The reason of this writing, is to express my pleasure, on having the opportunity, to give a try on mixing my clay with minerals, collected from the Himalayas and parts of India. Lapis lazuli, turquoise fragments full of copper, and more tiny examples which will affect or not the clay body of my pots.

There are a lot of technical information and knowledge within this process. A heavy-duty, I could say. But most of all, there is the unexpected. You just fill your kiln in, with any kind of surprises, which are taking – me at least – back to the enthusiasm of my student years. It’s like I found a missing ingredient, which was lost for a period time. It’s also about a piece of land, with which you are connected in some way. You put little parts of your land-your history, and you melt them, you recrystallize them in clay, transforming this new mixture of yours, into a new natural element that will last, almost forever, in time.

The action of collecting minerals and mix them with clay in order to fire them, on the highest temperature I can get, in different, or not, atmospheres, is like a kind of bridge, between time,as it gets clay (a natural mixture of minerals that needed hundred of years to reach that state) and hard parts of minerals, which are instantly taken off the ground , in order to melt into one, again. Eternity and a moment fluxes together, to create a time print.



George Vavatsis

6 Danaidon Thessaloniki

(0030) 2310 306603



He was born in 1974, in Thessaloniki, Greece. He studied ‘Visual & Live Art’ in Cheltenham & Gloucester College of Higher Education, England, from 1995 to 1998. He’s working in his own studio in Thessaloniki since 2000.

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