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, as it usually does with Christine Waxweiler, a traditional technique that was invented in Japan. “Two different glazes are superposed on a ceramic that is then fired in a wood kiln. The two colours come face to face, but a third and totally unpredictable colour comes into play, one which results from the wood ash that is deposited on the pot during firing.” Christine Waxweiler discovered this confrontation of materials around fifteen years ago at an exhibition in Nagoya. As she quite simply explains: “I fell head over heels in love with some tea bowls made by a Japanese pottery master; their beauty was overwhelming.” Several years later, Christine came across the exhibition literature in her archives and began to study the work of this master ceramicist, whom she had not forgotten. To her surprise, she realised that nobody in France, or even in Europe, had ever mentioned him. And so began a ten-year long period of research alone in her workshop, in parallel to her painting and ceramics, which were, at the time, more traditionally French. “I spent this time exploring different shino compositions based on glazes I had created myself and, above all, looking for a way to give a new take on this traditional technique.”
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