"In my work, I am driven by textures, materials and non-traditional working methods.
The main subject I deal with is the thin line between imitation and interpretation - My work portraits the contrast between an urban lifestyle and a remote admiration of nature. When I work, I use the most naive and (sometimes) barbaric techniques while facing industrial materials. I try to capture a longing for authentic nature and at the same time to celebrate its progress and many benefits, and perhaps combine both emotions into one.
If I had to sum my main ambition in my work I would say that I seek authenticity that comes from a personal aesthetic perception. The fine definitions of art, craft and design seem to me unnecessary in relation to my work. While working on a piece, it is not so much a ‘narrative’ that I’m after, but rather, visibility and the abstract feelings that may be summoned by viewing the form.
As an artist I would like to think that I am a highly individual maker searching for an aesthetic vision that would be completely my own.” Michal Fargo
What made you choose ceramics as a way of expressing yourself?
Clay is as good as any other medium, it is a material with lots of possibilities but it doesn’t influence my personal perception of art. Sometimes because of its limitations in format, in height, due to the measures of my kiln I have to find other solutions than I used before, but that are technical issues. I have also used other materials like papier maché before but the outcome of my figurines would be the same.
The objects you create realistically mimic the texture and look of wood stumps, roots and branches. What is your connection with this natural element, and why did you choose to investigate it in ceramics?
Human emergence is the overarching theme of my sculptural work; as metaphors for that I use the aging tree as well as the natural land features of the earth. My life connection with trees and land extends from childhood when I remember exploring the woods and mountains of Colorado with my older brother and friends. Today I continue my fascination and exploration with the woods and mountains here in Southern California, where I live a short walk from the local foot trails of the San Gabriel Mountains. Ceramics is the most appropriate medium for me because clay seems to know what I want and interacts with me in a very agreeable way. The characteristics and behavior of clay seems to have a common goal with me as if it wants to behave in a way that yields a pleasing result. Clay naturally takes on the characteristics of wood and earth.
Craftsmanship in Ceramics, Jewellery, Basketry and Wood / Oxford Ceramics Gallery, Oxford, UK December 1, 2013 - January 12, 2014
Oxford Ceramics is staging its first exhibition of contemporary applied art in December, with ceramics, wood, basketry and jewellery by some of the UK’s most distinguished artists. The exhibition celebrates the richness and diversity of their work, as well as a shared quality of fine craftsmanship.
Ukrainian Institute of Modern Art in Chicago (UIMA) presents the exhibition Ceramics / Glass. This exhibit focuses on the medium of ceramic or glass in contemporary art – mediums that require high temperatures, special tools, kilns and specialized studios. UIMA has selected some distinctive personal styles from numerous glass / ceramics studios in Chicago and from artists working in national and international cities.
Keisho-Ha - A New Materialism and the Yufuku Aesthetic / Yufuku Gallery, Tokyo December 5-21, 2013
Contemporary Japanese art in the 21st century is heading in a new and unique direction. Artists are using traditional techniques to create not craft, but objects of self-expression that are very much a type of sculpture that can change space itself. Such artists are pushing the boundaries of their respective mediums to new heights, using new techniques and materials that have not been used before.
Kerry Jameson’s new sculptures have an emotional charge that is presented through a mix of narrative set pieces, tableaux and individual figures. Subjects include historical events and the exploits of folkloric and storybook characters. She derives inspiration from an equally eclectic range of sources, which include portrait paintings, the figures of British myth such as the Burryman and Wicker Man, the work of animator Ray Harryhausen, a fascination with the polychrome religious sculptures of 17th century Spain and the toy collections of the Bethnal Green Museum of Childhood. She explains: ‘A work starts with a thought or feeling, an undigested experience that needs to be worked through.’
Michal Fargo: Else, 2013, Porcelain, fired models technique, fired to cone 6 electric, 15x6 cm. Photo by Mel Bergman.
Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, Variable dimensions. Photos by Mel Bergman.
Michal Fargo: Else, 2012, Porcelain, fired mold technique, fired to cone 6 electric, 20x7 cm. Photos by Mel Bergman.
Michal Fargo: Else, 2012, Porcelain, fired models technique, fired to cone 6 electric, 30x18 cm. (white right), 24x21 cm. (white middle), 26x16 cm. (blue). Photo by Sasha Flit.
Michal Fargo: Else, 2013, Porcelain, fired mold technique, fired to cone 6 electric, 12x11 cm. Photo by Mel Bergman.
Michal Fargo: Else, 2012, Porcelain, metal ring, fired models technique, fired to cone 6 electric, 11x7 and 13x8 cm. Photo by Mel Bergman. The second work is sold to the collection of Holon’s Design Museum.