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Agathe Dupérou


happily plays with the codes of ceramic, the original modelling material, exploding the form by reinventing its function: the plastic inventiveness is accompanied by a semantic shift and one guesses a disturbing but somewhat reassuring presence.
Enigmatic corporeality where the assignment of meanings is
diverted: screens and mirrors no longer reflect our own or the world’s image, they are called to be something other, organic, doomed to charge and change our gaze.
These non-functional object-things claim to be the bearers of a living interior landscape that remains elusive.

Text by Rosanna Gangemi


Flesh And Blood


120cm x 60 cm
stoneware, porcelain slip, bone ash glaze, wax.
  ⓒ Gijs Milius

The Romanesque church of Saint Pierre de Xhignesse housed a remarkable sculpture of Saint Anne of the Trinity, probably made in the 16th century. The mother of the Virgin Mary is carrying her daughter who is herself carrying the baby Jesus. Stolen in 1980, this sculpture is still sought by Interpol.
This mise en abyme leads to anti-naturalist representations where Mary appears as young as Jesus or even the same age as his mother.

That inspired me to create an archaic organic version of this trinitarian vision. Thus, "Flesh and Blood" is a sculpture in three parts. The vertical base supports a second body which in turn supports a horizontal porcelain bone covered with a wax skin.

ⓒ Gijs Milius