“Celestial geometry”, “Starry polyhedrons”, “Orbits”… The titles chosen by Nadia Pasquer for her exhibitions immediately convey the idea of otherworldliness and travelling to another dimension, an infinite one of constellations. Her creations make up an imaginary galaxy where the rigour of lines dissolves into a soft and sensuous poetry of matter. “Sculpture is this essential language of touch that makes us aware of our body in its vital force, and of its ties to roots and stars“, wrote Gaston Bachelard, the artist’s favourite author, in his book Earth and Reveries of Will, in 1948. […]

Whether consciously or not, Nadia Pasquer’s universe is nourished by multiple references. When faced with her work, images come to mind such as the polyhedron in Albert Dürer’s Melancolia, a copper-plate engraving dated 1514, or the polished bronze egg in Constantin Brancusi’s Beginning of the World, sculpted in 1920. Through its silence and its poetry, the ceramic artist’s universe also evokes the mysterious and metaphysical world of painter Giorgio de Chirico. What they have in common is we know nothing about what we’re seeing, in the end. Why and how did the objects get there? Where do they come from, and what brings them together here and now? Nothing at first sight, except the essential, the beauty of mystery and the magic of art.

Guillaume Morel
Journalist, art critic,
Extract from the exhibition catalogue.