“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”.
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.
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.
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.