The installation Panthèon Blanc is composed of a group of images heterogeneous in nature and dimensions, arranged on five rows of ascending steps. Each sculpture reflects an openness to the influences of the history of art of all times and places, passing through the votive sculptures and figurines of the Western and Eastern traditions to linger over the white porcelain figures of Blanc de Chine. All the gods is the meaning of the ancient Greek word pantheon, a concept developed further by the Romans to allow all the divinities of different cultures to co-inhabit under the same sky, and to coexist peacefully.
The installation presents itself as a review of mythological figures of diverse morphologies and styles, almost as if identifying a globalization of the deities parallel to the temporal phenomenon of globalization that invests in our society. Divinity, a concept almost unknown to contemporary humans, is understood as human psyche that is the product, not only of our personal dynamics, but also of a collective unconscious, an innate genetic instinct, a shared heritage, of our belonging to nature. The unconscious is a zone from which the sacred arises and the images that spring up from this are the gods.
The sculptures are composed of porcelain from many countries, in Europe, Australia and China, used separately or combined in a special blend of paper clay. The recycled porcelain of diverse provenances becomes a metaphor of biological and cultural contamination, the maximum expression of our times. This plurality is also expressed in the use of many ceramic techniques used contemporaneously (slip-casting, coiling, slabs, modeling, and immersion of organic/synthetic materials) to define the diverse natures of the figures of the Panthèon Blanc. The origin of the forms marks a significant return to handcrafted in parallel to the use of slip-casting, a technique that gained prominence in my work since a formative Blanc de Chine ICAA residency in 2017.