THE ART OF FIRE

Known by the Greeks as “ clay for dishes”, ceramic was the first material to be used by man to make pots and other objects essential for preserving food and drinks, with its use dating back to prehistory.
From the iv century B.C onwards pottery schools popped up all over the Mediterranean and especially in Sicily.
In the XVII century Palermo was at the centre of the largest production of ceramic furnishings and tiles for villas for that time.
In the XX century thanks to the characteristic liberty style, ceramic also started to be used esthetically to create “art objects” and their popularity started to spread all over the world, increasing production.

Antonio Forlin, inherited these traditions and the evolution of this art, through his ceramic work in his shop in Taormina (www.doncorleoneobjects.com).
Developing his skills of this art form, not as an inferior form but as one equal to sculpture and painting, allowing him to realize the numerous images that characterize his creative and expressive processes.
Having studied decorative painting at the Academy of Catania, he discovered his passion for ceramics almost for accident:
First finding a kiln and once having prepared it, he strted to use it for fire ceramics!
His first step in this new experience included working the clay with a purely creative and aesthetic aim.
He played with it, getting to know the shapes and possible structures of the material and he continued to experiment ever more curious about the Art of Fire.
Attracted by the clay’s malleability, he discovered the magic of the kiln and how firing reveals the brightness of the vamish and the shine of the paint. On his journey through this art he started to research the origins of Sicilian art form and its traditions.
He took plates, pans and jugs and other typical ceramics and played with them, modifying their shape with the eyes of a child playing with a new toy. This game with time was to become a passion and a big
opportunity.
The significance of an everyday objects (a plate becomes much more in his hands) transforms into an aesthetic and communicative phenomenon, representing a new conciliation of ceramic art with design and architecture.
Without rejecting the mass manufacturing work of these products, in the initial stages of production he reduces the excessive decoration of the typical Sicilian potters, transforming them into works that recall Picasso. then during the next phases the object evolves, emancipating in a natural and independent way.
These works of art are filled with a very personal, linguistic poetry, with which the artist manages to tell his own contemporary experiences, those of one who travels freely within their own soul.

by Giuseppe Stagnitta