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BRIAN ROCHEFORT

CERAMIC BLUE

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Brian Rochefort (b. 1985) lives and works in Los Angeles, CA. He has a BFA from the Rhode Island School of Design (2007) and participated in the Lillian Fellowship Residency at the Archie Bray Foundation (2009). Rochefort has had one-man shows at Sorry Were Closed (Brussels, BLG) in 2018, and Van Doren Waxter (New York, NY) until February 16, 2019. Rochefort has also participated in group shows, at The Cabin (Los Angeles, CA), Retrospective Gallery, (Hudson, NY) and Steve Turner Gallery (Los Angeles, CA). Received the Lillian Scholarship from the Archie Bray Foundation for the Ceramic Arts in Montana, 2007-2008.

Rochefort's practice responds to the experience of traveling, including excursions to natural habitats around the world. When he returns to the studio, he channels his encounters with geologically extreme phenomena and formations into a unique approach to ceramics. Breaking the rules of traditional technique, each piece is the culmination of an intimate and improvised process of addition and subtraction carried out in multiple rounds of glazing and firing. The final results recall, in miniature, the paradoxical landscape of the volcanoes and geysers that inspire them: matte and shiny, wet and cracked, collapsing and emerging. These works embody the intermediate beauty of matter and form at its physical limits.

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For Cerámica Azul, its exhibition at TMR Guadalajara, Rochefort brings together travel and production for the first time. Combining the technical and aesthetic possibilities that emerged from his time working at Cerámica Suro, Rochefort introduces new vocabularies of scale, shape, and texture to his practice.

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The austere grandeur of the setting inspired a more minimalist, even classical, approach to form, while industrial ovens made possible vessels that expand beyond the dimensions Rochefort normally works in. Finished in shades of blue, green and purple, they represent a more complete meeting of human production and natural creations in Rochefort objects, as if they were industrial remains made to coexist with the iconic magueys in the fertile volcanic plains of Jalisco.

For Ken, these that seem private and significant moments only for those who lived them, are actually how the great contradictions of the human being are confronted.