A sculptural presence of flora and fauna
- Daphné models her organic forms by hand
- Her research focuses on confering the right presence to her works
- She interprets objects into contemporary sculpture
Daphné de Gheldere's creative process is guided by both her intention and the material itself. "I seek to really bring out the sculptural presence of my work," she says. Daphné studied illustration at the Willem de Kooning Academy in Rotterdam, and studied ceramics with Héloise Piraud in Paris, Olivia Cognet in Vallauris and Stephen Antonson in New York. Her mentors' styles reinforced her understanding of shapes, sizes and textures. At the end of her studies, she launched her professional journey with ceramics in exhibitions and galleries, such as at Ceramic Brussels. Today, Daphné creates 3D ceramic works inspired by flora and fauna motifs. "The medium offers endless possibilities in terms of volume and surface effects," she explains.
INTERVIEW
Even though I also learned to throw on the wheel, coiling gives me the most freedom to build my organic forms. I use this traditional hand modelling method to reinterpret sculptural objects with a utilitarian appearance in a contemporary way.
The challenge! Few people realise how demanding clay is. There is a lot of trial and error, and research. Even when I put the piece in the kiln, I am still unsure of what the result will be. In the end, it is a wonder when a piece comes out successful. Ceramics is the art of letting go.
Interior design and scenography are fields I have deeply explored, so I retain a strong interest in the communication between an object and its surroundings. The relationship of a piece with its space is more important to me than perfection.
In addition to their free forms inspired by nature, the surfaces of my works are generally raw, glossy glazed or unglazed, with lots of small intertwined details. These effects catch light and give my sculptures their place in their environment.
