Mai-Thu Perret
The three garden paths were overrun with weeds, but the pines and chrysanthemums were still there, 2022
glazed ceramic
20 1/2 x 17 1/4 x 5 inches
(52.1 x 43.8 x 12.7 cm)
Courtesy of the artist and David Kordansky Gallery.
‘Mother Sky’ by Mai-Thu Perret @ David Kordansky Gallery
The sumptuous ceramics introduced by Mai-Thu Perret at David Kordansky Gallery inform us with a comforting idea of aquatic at its most profoundest from the myriads of patterns she introduces. It is in that ostensible void of incomprehensible motion which ends up forming a pattern of watery eruption that has a sense of settlement. She escapes the diamond pitfall and eats up the prickly thorns, 2022 for instance, demonstrates this exactly.
Mai-Thu Perret
She escapes the diamond pitfall and eats up the prickly thorns, 2022
glazed ceramic
18 1/2 x 16 x 3 1/4 inches
(47 x 40.6 x 8.3 cm).
Courtesy of the artist and David Kordansky Gallery.
Mai-Thu Perret
She escapes the diamond pitfall and eats up the prickly thorns, 2022
glazed ceramic
18 1/2 x 16 x 3 1/4 inches
(47 x 40.6 x 8.3 cm).
Courtesy of the artist and David Kordansky Gallery.
It is in the protraction of a fluidity, of a churning sensation. Does it feel completed? Is it at rest? What does the title inform us of the animation of the glazed ceramic and its finale? We don’t have puncturing in the idea expressed, nor a prickliness which the title suggests. Perhaps the idea is of an outward extension and the clashing, like waves, of a desire? Of necessary resistance that is imposed upon the will, and through that forms a lubricated molasses?
Such lubrication is seen triumphantly in The three garden paths were overrun with weeds, but the pines and chrysanthemums were still there, 2022.
Mai-Thu Perret
The three garden paths were overrun with weeds, but the pines and chrysanthemums were still there, 2022
glazed ceramic
20 1/2 x 17 1/4 x 5 inches
(52.1 x 43.8 x 12.7 cm)
Courtesy of the artist and David Kordansky Gallery.
Such a glistening outpouring, such an iridescent beam at a distance, brings us nearer to more aquatic forms of natural motion, in the successful condensation of the oceanic swirling to the semblance of tendril, tentacled, speciation. That final installment, certainly of an idea of progress from the rawness of a water world toward a higher order. It is in this smoothness which finishes with such an interesting polish which makes for a fine gift, for those who need a constant reminder of there being water before the vicissitudes of man’s fate distract him from this brute fact: he is aqueous by nature.
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