AGATHE DUPEROU (1992) 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.
