Les Objets - Objet 6 Cracked Enamel
by Johanna de Clisson - Hiromi
Material
Cracked Enamel
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Objet 6 Cracked Enamel takes the same capsule silhouette as the chamotte versions and introduces a second material register. The upper section carries a pale crackle glaze, fine fractures across a white surface, tactile at close range. The lower section is raw grey chamotte, unfinished, its grain reading against the glaze above. A U-shaped cut-out at the base and a subtle opening at the top are the form's two apertures.
The contrast between the glazed and unglazed surfaces is the piece's argument. Johanna de Clisson pairs the two not to illustrate a technique but to place two states of the same material in dialogue: one controlled and refined, the other exposed and rough. The U-shaped cut-out functions as it does across the Les Objets series, a formal signature present in most pieces regardless of material.
Handmade in Paris from ceramic with cracked enamel and raw chamotte. Part of the Les Objets series.
W 16 x D 9 x H 36 cm
W 6.3 x D 3.54 x H 14.17 in
Materials: Cracked enamel
About
Johanna de Clisson - Hiromi
Artistic director, designer and ceramist, Johanna de Clisson is a complete artist. A graduate of ENSAD (National School of Decorative Arts), she began by practicing photography, working with a large-format view camera on still life.
In 2021, she created her label Hiromi, meaning “free-spirited beauty” in Japanese, a research studio specialized in design and ceramics. Her creations blend rough textured chamotte earthenware and sensual touch cracked enamel she sometimes associates with metal or wood in her immaculate studio-laboratory in the north of Paris.
Johanna de Clisson has developed a vocabulary of graphic forms which she explores with HIROMI, a collection of objects such as wall lamps, floor lamps, table lamps and wall modules. Playing with paradoxes, Johanna de Clisson simultaneously sculpts objects with brutalist and voluptuous shapes and volumes, like two extremes colliding.
She signs limited edition furniture (seats, bedside tables, coffee tables) and custom-made light sculptures for special orders from architects. At the frontier between art and design, she claims the beauty of constraint and asceticism as her personal guidelines. Genuine backbone of her research, architecture is the main source of reference for the artist who evokes Ryue Nishizawa, Tadao Ando or Oscar Niemeyer as tutelary figures who guide her in her desire to transcribe architectural forms in everyday life. She also draws inspiration from the artistic current of German objective photography, such as Bernd and Hilla Becher’s typological and serial approach.
It is in a former workshop in the 9th arrondissement of Paris that she develops and exhibits her work. Old wooden ‘parquet’, white walls, buttercloth curtains and a few design pieces compose this silent space. Johanna sculpts dressed in a white blouse, a uniform that frees her spirit and guides her towards the rigor of her work.
Texte: Marie Godfrain
Photo crédit: Adel Slimane Fecih
Collection
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