Sara Flynn

Sara Flynn describes her work as a solitary and experimental occupation in the safety of the studio: the pieces are thrown, then subjected to the work of the hands that explore the potential transformations of the initial shape. She cuts, pulls, pinches, twists, folds and stitches back up, deconstructing the basic pot form which she turns into a sculpture by following the material’s suggestions and requirements. “What shapes my work is the material. Literally and metaphorically. Understanding the qualities of the material is the single biggest factor in developing new work and expressing the forms that are fundamental to make the work my own.” The pieces arise not from a preconceived idea or preexisting design, but from the work of the hand thrust into the heart of the material, exploring it, experimenting it and constructing it. Hence, perhaps, the very physical dimension of these works, the weight of their existence, their carnal density, reinforced by some kind of human-like feel, and magnified by such varied and rich glazes, stemming in turn from incessant experimenting (sumptuous matt, velvety or silky blacks, luminous pale greens, “living” glazes full of germination and blossoming…). There is a feeling here that ceramics is a laboratory where, at the condensed scale of a vase or a bowl, the essential potentialities of sculpture, the infinity of possible forms and surfaces can be experimented with such a perfect, technical mastery and definition of the shapes that each of these formal variations arouses amazement and emotion..
Manuel Jover,
journalist and art critic, excerpt from the exhibition catalog.