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The orb at zero.
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<div class= "text-justify"><p>Then it's just me, and a mountain of mud, I'm mud, but I'm also a mind, when it's over, there's no difference between the mud mountain and me.</p></div>
<div class= "text-justify"><p>We are always bodies possessed by ourselves, it is the art of channeling that energy, identifying it, classifying it, dosing it and naming it is my favorite part, since I feel like a satellite, in another place and everything I feel I am exploiting the strange temperatures, but from there bounces on me to then bounce in the mud and so project in eyes like are yours.</p></div>
<div class= "text-justify"><p>Today I go in search of the appearance of my emotions, which actor of the method is impossible not to feel like each of them in the process, - LA O R B –
It will be in the future an installation that will have 12 + 1 ceramic pieces that will draw a spiral wave in the spaces of the arts center of Maracaibo Lia Bermudez, but first I have to create them.
Knead, model, grind, burnish.</p></div>
But one at a time.
<div class= "text-justify"><p>This is not a tutorial, it is an attempt to revive in the mind of those who read me, the process of gestation of this series of pieces that in the future appears in its final result, but it is more than interesting, it is an extrapolation, from my mind to the mud, so it happened.</p></div>
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<div class= "text-justify"><p>The process of modeling is categorically speaking, BRUTAL, it is visceral, from the shape to the figure with violence, from the shape to the figure tearing to suggest curves, crossing it to make perforations that approach the screen that I have not seen.</p></div>
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<div class= "text-justify"><p>Clay modeled with mind or without mind before passing through degrees of temperature, an intense dose of fire, must be purified of excesses, then after it appears to have figure then divide and grind, tear out all entrails, this is necessary because if any air bubble remained, the fire would not forgive, it would explode into a thousand pieces, I remember and I am also grateful for the words of Mr. @adheemar Adhemar Sánchez, a great ceramist who instructed me and gave me a space in his magnificent workshop, spoke to @ynor and a me about the relationship a ceramist must have with fire, about the respect that must be felt for him and everything what it gives us, it was impossible for me not to compare it with life itself, said that there are those who avoid the fire or who have it with the electric ovens that do not offer even half of the results, that the ceramist should join the fire and excel in the.</p></div>
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<div class= "text-justify"><p>After an intense war of the tools vs the clay, time to give final finishes, prepare the piece for the fire, the end point is interesting especially because before the clay dries and even more is baked to be ceramic, it is in a state of infinite plasticity, where although there is a chance to be, it is not yet, here there is no time, it can remain eternally wet waiting for its final form, but it is necessary to decide, make seams to close those hollow pieces to fill them with fire.</p></div>
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<div class= "text-justify"><p>Then the material of both ends joins to dry together and like a weld meet and never separate.</p></div>
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<div class= "text-justify"><p>Once the figure has been consolidated, all that remains is to separate fine edges that are conscious of being displaced, and the only premise is perfection to burn until you see it shine.</p></div>
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<div class= "text-justify"><p>Of this series are 13 pieces in total, I suggested only some in this post to not detract from the next in that in detailed photographs deepen their concept and behavior in space.
Thank you, @ynor Rony Reyes and @peggydiaz Peggy Díaz brothers of the TRFIFASICO collective for taking the pictures during the process of these pieces.</p></div>
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<div class= "text-justify"><p>T is worth mentioning that STEEMIT is the sponsor of all the elaboration of these pieces, thanks to this incredible platform that reaffirms the law of retribution.</p></div>
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