Jean Vincent (1957)

Biography

Jean Vincent was born in 1957 in Saint Sylvestre Pragoulin, in the Puy-de-Dôme region of France. After pursuing a career in social work, he decided in 1984 to also explore his passion for art by enrolling in the Bourges School of Fine Arts. It was there that he joined the Ceramic workshop led by Jacqueline Lerat. This choice marked the beginning of a new chapter in his life, where he aimed to deepen his knowledge in the artistic field and develop his own creative approach.

For two years, Jean Vincent immersed himself in learning ceramic techniques, including modeling and wood firing. This period allowed him to experiment and refine his skills, while nurturing his desire to create unique and authentic pieces.

Through the encounter with materials and techniques, the idea of creating fire sculptures emerged. Jean Vincent saw in this approach the opportunity to fully realize his artistic intention. Over the years, he explored different approaches, assembling objects and using various materials and techniques to bring his creations to life.

Gradually, his work focused exclusively on clay. He adopted the technique of hollow modeling to shape his sculptures, favoring round and organic forms inspired by gestures, postures, and movements, as well as natural elements such as pebbles or rocks. These sculptures, produced in series, find their place both outdoors and indoors, inviting contemplation and reflection on nature and movement.

Through his artistic journey, Jean Vincent continues a quest for personal expression, seeking to convey emotion and harmony through his sculptural works. His work reflects a particular sensitivity to forms and textures, inviting the viewer to journey into his artistic universe, imbued with poetry and simplicity.

- PALABRES -

The Whisperers,

They are shaped in clay,

Fired using the Raku technique.

They are arranged on the ground in two lines:

A circle and a parabola.

Ready for the PALABRES.

Their shape is inspired by the roundness of rocks and pebbles

from the sea.

Their color seeks to recapture the transparency of the blues

of the Iroise Sea.

The installation on the ground is an invitation

For the viewer to get to their level

In order to look at them closely and

Perhaps hear their whisper.

Text from Jean Vincent

The word "palabres" can be translated into English as "palavers"

“It is the bad object, the ugly duckling, the black sheep. But it is also the link, the common factor in the work I present. For the smoke-fired clays, I will produce it by burning a mixture of sawdust and wood shavings. During the slow combustion, it will gradually enter the clay, drawing a mysterious map that highlights the curves like a signature, a birthmark. Sometimes I will incorporate seaweed into the mixture to obtain sepia tones.

For the Whisperers, it will insert itself into the entire network of cracks created by the thermal shock of the raku firing as well as where the glaze is absent. The forms are simple, the lines are taut, inspired by postures, gestures, attitudes, or sometimes rocks eroded by time, pebbles worn by the ocean. It will leave his marks, its traces on smooth and sensual organic curves.”

Texte de Jean Vincent - juillet 2024

Galerie Catherine Pennec : Who is Jean Vincent talking about? Whoever finds out will be invited to all the openings at the Catherine Pennec gallery !

Interview between Catherine Pennec (CPE), gallery manager, and Jean Vincent (JVI), ceramist, about the exhibition "Traces" – May 20, 2024.

CPE: Hello Jean, thank you for taking the time to talk with me today. To start, could you tell us a bit about your background and what led you to ceramics?

JVI: Hello Catherine. Of course. I began my career in the social field, but in 1984, I decided to follow my passion for art and joined the School of Fine Arts in Bourges. It was there that I discovered the ceramics workshop led by Jacqueline Lerat, and that encounter was a turning point in my life. I was fascinated by the material, the clay, and the endless possibilities it offers.

CPE: Your work is very specific, with a very particular technique. Could you tell us more about the hollow modeling and smoke firing technique you use?

JVI: Absolutely. I practice hollow modeling using the coil technique, which involves stacking coils of clay to build the desired shape. Once the modeling is complete, I perform a first firing in an electric kiln at 970°C, known as bisque firing. Then, I proceed with smoke firing at 760/800°C for 48 hours, using sawdust and Breton seaweed. It is the combination of the seaweed, soda, and salt that gives my ceramics their Sepia coloration.

CPE: It's fascinating to see how your technique influences the final appearance of your works. You mentioned the influence of nature and organic elements. Could you tell us a bit more about these inspirations and what they represent for you?

JVI: Nature is an inexhaustible source of inspiration for me. Organic forms, like pebbles smoothed by time and water, the curves of mountains, or the textures of the earth, as well as the relentless passage of time. In working with clay, I seek to capture these traces, these natural and timeless movements. Each sculpture is a kind of dialogue with these forces, an attempt to translate this natural poetry into a tangible form.

CPE: That's wonderful. Your works indeed seem to capture a kind of serenity and raw strength. How do your readings, especially "Letters to a Young Poet" by Rilke, influence your artistic work?

JVI: Rilke has always been a source of deep reflection for me. In "Letters to a Young Poet," he talks about the importance of looking within oneself, finding one's own voice, and not being influenced by external criticism. This message strongly resonates with my artistic approach. I strive to stay true to my vision, to my feelings, and to create works that come from the deepest part of myself. This book encourages me to continue on this introspective and authentic path.

CPE: You also mentioned that music plays a role in your creative process. How do you choose the music that accompanies your moments of creation?

JVI: Music helps me to concentrate and enter a state of flow. I like to listen to artists who create rich and evocative atmospheres, such as Duo Peirani Parisien with their album "Belle époque" or René Aubry with "Invités sur la Terre." These pieces of music have a meditative quality that aligns well with the act of shaping clay. They help me connect to my emotions and translate these feelings into my works.

CPE: It's fascinating to see how different forms of art come together in your creative process. To conclude, can you tell us what this exhibition "Traces" means to you and what you hope visitors will take away from it?

JVI: "Traces" is an exploration of the erosion of time, of how elements and events leave their mark on the world and on us. I hope visitors will feel a connection with these traces, that they will take the time to contemplate and reflect on their own passage through time. My sculptures, with their organic forms and surfaces marked by fire and earth, are an invitation to this contemplation. I hope that each person finds their own meaning in these works, a trace of their own journey.

CPE: Thank you very much, Jean Vincent. We are eager to share your work with the public and to see how everyone responds to this magnificent exhibition.

JVI: Thank you. I look forward to seeing the reactions and engaging with the visitors. It is always enriching to see how my work resonates with others.