Technique
Sylvie Saint-André Perrin elaborated a production by stamping in plastercasts made from models of her choice.
Stamped clays are coloured with oxides with which she is able to obtain a whole range of shades. She composes clay mixes with predominating blue, green, ochre, yellow or grey producing sinuous patterns, variously undulated but not happening haphazardly.
Sylvie Saint-André Perrin elaborated a production by stamping in plastercasts made from models of her choice.
Stamped clays are coloured with oxides with which she is able to obtain a whole range of shades. She composes clay mixes with predominating blue, green, ochre, yellow or grey producing sinuous patterns, variously undulated but not happening haphazardly.
A relative control of colours is possible during the block kneading phase, while the rhythm and respiration of the motive spring from the final spreading out of the sheet with a roller.
Stamping as she practices it reveals itself as a slow and fastidious technique allowing no more than 16 pieces to be formed each day. Clays are prepared for no more than three or four plates.
Once in the mould and slightly hardened, clay is scraped to thin it, then sanded at lengthwith iron wool and put into the oven a first time at 1796°F before enamelling with a transparent glaze and a second fire.
A relative control of colours is possible during the block kneading phase, while the rhythm and respiration of the motive spring from the final spreading out of the sheet with a roller.
Stamping as she practices it reveals itself as a slow and fastidious technique allowing no more than 16 pieces to be formed each day. Clays are prepared for no more than three or four plates.
Once in the mould and slightly hardened, clay is scraped to thin it, then sanded at lengthwith iron wool and put into the oven a first time at 1796°F before enamelling with a transparent glaze and a second fire.