Sarah PschornMy Hands are My Eyes

'My Hands are My Eyes' is explicit. The title sends us back unmistakably to the sculptor at work. Sitting on her stool, the artist, hands, and eyes sied together, is working her clay, sensitive and imperfect. As a spectator, I imagine myself in her place loved in a creating bubble or perhaps elsewhere, in the dark. Looking for my way hands in front of me, I feel the space between free fields and pitfalls, sometimes complex. The experience is sensitive and that is the feeling that Sarah Pschorn wants to convey through this exhibition: her own experience of the texture, her touch, and vision. Sarah Pschorn uses porcelain, clay, glass, sand, platinum, epoxy, enamel which she colors in green, purple, blue, gold. The forms are baroque, free shapes or geometrical, classical or ultra-contemporary. The artist performs as she composes. The diversity of the styles becomes her signature. Perhaps, her talent is in the idea that all this seems elementary, but it is in this interstice that we will remain ignorant.'

The set up of the exhibition confronts us to Sarah’s works. On a black wall, the forms seem to float. The shapes are similar to vases and trophies and some seem to already welcome flowers. Like woman voluptuous bodies, they show their contemporary curves, sometimes generous or androgynous. We enter here in the first act of a play and we ironize on the cabinet of curiosity of the 19th century. Inside this sanctuary, the visual contrasts are strong, and every piece expresses its uniqueness. As Michael Fried would examine in The Objecthood written in 1967, this exhibition rises up symbolic questions using the antithesis of what appears to be art once again regarding some issues related to artworks considered as simply objects. Why do ceramic works remain peripherical to the world of contemporary art? Why does ceramic artwork still resist the sphere of contemporary art and why does it raise up so many questions about its solvency in the art market? The material used in the works of Sarah Pschorn gives us an opportunity to reconsider the boundaries in Art. She BAM! is an art space and not a porcelain’s shop. This place of representation insists here on the provocation and the interrogation about the aesthetical and ethical register of what still is defining a contemporary art space. This proposal calls upon multiple pictural and conceptual ranges with confused edges of what is given to see and to think.