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Alexis Rago

Lincoln/London
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Working at the convergence of science, religion and art, ceramic material becomes a plastic means of bringing objects of the mind into this world: to express in some way what it is to be here and now: purpose lies in witnessing existence. The most political statement I can make is to be totally apolitical to the point where my work does not reference the human world overtly but challenges societal perceptions of it own centrality in the world. I see this as part of a new movement that envisages humanity as a transient phase in the development of the universe; or is there something more deeply significant to ourselves as to how we transact with the environment in terms of resources, politics and art? I look to cross boundaries including between the traditional and avant garde in terms of a dialogue between the conceptual and the physical. This opens up a discussion that was long ago put to rest between art and craft by highlighting current reappraisals of skill versus idea and sentiment versus significance. What is interesting is that each viewer takes away what they bring in an altered form. This is what apoliticism is about, change without prejudice of the other, an embracing of the plurality of life marked as areas along a spectrum of possibilities.

 

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