Interview with Israeli ceramic artist Simcha Even-Chen - Recognized artist, September 2011
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→ This interview is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.
Ceramics Now Magazine: We know that you are a successful ceramic artist and also a scientist. How do you find time and motivation for both of your jobs?
Simcha Even-Chen: Science is a continuous stimulus for me; it has broadened my creativity thinking; it has pushed me to experiment and taught me that patience and perseverance lead to improved results. Art and science are integral parts of my life; although following both careers involved hard work (nights and weekends are dedicated to ceramics). I’m not preparing to give up one or the other. My analytical mind is well attuned to intuitive and creative possibilities; they successfully combine and complement each other.
Ceramics Now Magazine: Your works are investigating the elements of ambiguity and dynamic of opposites, or in other means, they try to mislead the viewer. Can you tell us more about this?
I have always been fascinated by the elusive harmonies created when a precise controlled architectural element is brought together with intricate surface designs and colors to generate the complete object and induce an aesthetic as well as intellectual stimulus. My body of work deals with construction of architectural geometrical shapes, their fragmentation, and the rapport generated when they are combined to form an assemblage. The use of the geometric design on the surface adds another dimension to each object on it own, but also has an impact on the fractures between objects in a group, as the flow of lines and shapes redefines the significance of each shape and gives a visual perception of unity and harmony to the work. The division of the body surface between white and black as well as the use of lines softens the shape. Placing the grid or lines on the edge of the shape, so that the shape flows, completely dissolves the hard lines. Viewed from different angles, surface and volume are blurred, giving an illusion of flatness.
While the black sculptures may seem massive and heavy, their weight is light when actually lifted. Their stance appears fragile when placed on their convex side, but they are full of energy and movement. Once again, the duality of heavy-light, stability versus instability, negative and positive shapes, produce contrast between appearance and reality.
I am starting on a new line of works dealing with balance, flow and motion. A dialogue between the inside and the outside of the object exists in each work creating flow motion in addition to the dialogue between the objects that developed through the way the objects are placed.