Written by: Massamba Mbaye
The sculpture seems to exist in a space where nothing is completely settled, two looping bodies rise from a shared footing, cross, and curve around one another and open into spaces that allow each form to appear and disappear within the other. There is something almost intimate about this relationship. The forms seem connected, yet neither completely possess the other. The work holds that tension between closeness and separation, between being held and remaining free.
The hand-coiling gives the form much of its character. The long curves rise gradually, with a softness that comes from building the clay hand by hand rather than forcing it into a rigid structure. Each curve seems to lead naturally into the next. The pinched bridge between the two legs reads like a waist or a tendon, anchoring an abstract form to the body and giving the tall loops a footing that suggests tension rather than mere support.
Much of the work’s strength lies in its surface. Each section has been carefully polished and covered with liquid clay, bringing the individual coils together into a more unified body. Yet the decision to leave the surface unglazed allows the clay to retain its natural character. The firing tones add another layer to this material presence. Rather than feeling overly decorated, the subtle changes in colour feel as though they belong to the clay itself rather than being placed on top of it. The surface catches light differently along the curves, making the form feel tactile even when viewed from a distance.
There are moments where the forms come very close to merging, particularly where the rear structure disappears behind the front one. While this creates depth, a slightly clearer distinction between the two could make their relationship even more compelling.
The firing tones are gentle and largely uniform and add another layer to this. The subtle changes in colour feel as though they belong to the clay itself rather than being placed on top of it. The surface catches light differently along the curves, making the form feel tactile even when viewed from a distance.
Still, these are small concerns within a work whose strength comes from its simplicity. In Between is a work of connection and separation, about two forms occupying the same space while remaining distinct. The empty spaces are just as important as the clay itself. The work asks the viewer to slow down, walk around it, and let the negative space speak as loudly as the clay. As the viewer moves around it, the relationship between the forms changes with every shift in viewpoint. It rewards that patience.
