Curator: Ro’i Ma’ayan
The semantic field into which this work is cast is that of the perfect form. The perfect sphere. The process is one of continual refinement and simplification of complex formations to achieve the Platonic ideal. Basic. Sphere. A closed form, full of tension. The array of spheres is the fruit of lengthy study of the relationship between “primary” raw materials that combine or clash with natural materials including iron, glass and others that are not part of the classical ceramic palette. The spherical envelope becomes a fastidious membrane and the basis of the research – into which the various materials are accepted or escape. In essence, the abstract form silences the urge to crystallize a sculptural uniqueness and creates a sterile arena which facilitates a series of experiments. Lizzie Lieber is an autodidact. She is rebellious. Restless and fearless. From this place she turns to ceramic clay. Clay is stubborn, vengeful and never forgets. It is also rebellious. The charged encounter between Lieber and ceramics ranges between obsessive learning and the need to break the rules. To breach the rigid laws. To create differently. The basis is transverse. More and more experiments. Combinations of materials, multiple firings, different degrees of heat, unbridled fire and enveloping and controlled warmth. Safe materials and experimental materials. Traditional glazing with a glorious past, and injury to perfect shapes, using materials from the contemporary street. This tense, experimental, multiple foundation is the starting point for a process of cleansing, of extracting the seeds and leaving the chaff. The chaff that was so important to the process becomes a burden. It conceals. It is irrelevant. The picture becomes clearer. The process is complete.