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The Herald 2013

“In the hands of experienced potters like Delphine Niez and Donve Branch, the “accident” factor becomes a tool for experimentation and the expansion of their oeuvre. Both artists capitalise on the alchemy of what happens when surface accidents occur during firing. Modern ceramics have moved a long way from their originally utilitarian function and the Bauhaus dictum that “form follows function”.

http://www.heraldlive.co.za/no-empty-vessels-at-annual-ec-exhibition/

Lieu Dit - 2008

Le travail de Delphine Niez s’articule autour du vide comme une disparition et une métamorphose.

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Algoa Sun 2012

AN award-winning ceramic artist, Delphine Niez, who has exhibited her work in her native France, in Cape Town and everywhere in between, continues to make works of art in the quiet suburb of Walmer.

http://www.heraldlive.co.za/from-atelier-to-a-studio-in-walmer/

Revue Céramique et Verre 2007

Les pièces, dépourvues de notion utilitaire, sont des sculptures. Imprégnées de signes de vie, elles semblent offrir une résurgence d’un temps lointain. Un peu comme des mémoires fossilisées.

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Daphné Corregan at the Corobrik National Exhibition 2012

“I’ve chosen Delphine Niez work for the first prize for exactly those reasons. When I looked at this very white, modest, fragile, almost organic coral-like sculpture and literally isolated it from its initial plinth, I saw something different. I saw crumbling Elizabethan ruff collars and the fragility of it made even more sense, almost a reflection on our society. Not only is it a beautiful object but also it appears to question something deep.”

Ateliers d'Art de France 2006

Après cuisson, ne subsiste que l’empreinte de leur passage dans les alvéoles vacantes autour desquelles la terre s’est figée. Traces d’une vie – animale – végétale ? – ayant fui ou mué, laissant derrière elle le vestige d’une architecture organique, entre peau et os, échoué comme une rose des sables.

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Argilos 2012

Her creations are organic in appearance and often contain compartments of space - leading one eyes into an exploration into secret and hidden places, within the artwork. As winter trees are stark and colours are grey, so too is Delphine’s work, with their simplicity of colour allowing one to focus on their interesting textures and form.

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Cape Times 2006

In fact, her forms may be the burnt-out spaces remaining from tangible forms. Purposely countering the “usefulness” of ceramics, we are left with beautiful round objects, admired for themselves.

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Herald 2012

Nelson Mandela Bay-based ceramic artist Delphine Niez has scooped Southern Africa’s top award for the best piece on show.

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http://www.heraldlive.co.za/busy-moms-pottering-wins-award/

Mail & Guardian 2005

Vestige of Nature by Delphine Niez is a subtle, stirring exhibition of ceramic art, which integrates the clay with different elements such as branches and seeds that burn away during the firing process, leaving a delicate imprint.

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Figaro Magazine 2011

Arik Levy: La sculpture céramique: Je l’ai acheté place Saint Sulpice … l’artiste qui a réalisé ce bel objet.

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Algoa Sun 2004

She finds her inspiration in nature, which is clearly reflected in her sculptures where she experiments with different organic elements and sculpts them into works of art.

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