The multi-colored ceramic sculptures of Claire Lindner reflect an artistic vision of the natural world as a complex but deeply connected whole. With constant echoes of and allusions to biological forms and the natural world, her works tread the line between the familiar and the disturbing, staging a theatre of life full of desire and passion, eros and thanatos. The artist’s use of color also contributes to this vision, accompanying the fluidity and sinuosity of the forms with light transitions of color and highlighting the natural appearance of the artefacts with their opacity and porous quality. In this way, it is as if the hand and the subjectivity of the artist are reduced in importance and the connection with the natural world is made as direct as possible.

​

For the MAAB Gallery exhibition, the French artist has created a series of wall sculptures with sinuous, flying shapes that seem to want to free themselves from the weight of the material to hover in the air, with their serpentine, fluid forms, carriers of turbulence and desire. These ceramic creations thus reveal the intention of an artist who is truly hands-on, but who at the same time allows the material she moulds to break free of itself and take on the forms of air or a gust of wind, as well as suggesting the flow of water in the rapids of a river. As the artist herself has said about her work: “A universe where everything is fused together: inner and outer, liquid and solid, mineral and animal, vegetable and human, as if everything were made of the same substance”.

​

In the other series of works conceived for the Milan exhibition, Claire Lindner was inspired by a form that has nothing directly to do with nature, but with the work of man and artistic activity: drapery. This decorative element, which runs through the history of art from antiquity to the present day, is not seen in Claire Lindner’s work in its decorative and accessory function, but, on the basis of essays by the French philosopher and aesthetics scholar Georges Didi-Huberman, is considered as a symbol linked to the very movement of life, its metamorphic and changing nature, as well as a vector of emotions and psychological connotations. Thus, also in these works, which are situated at the convergence of the plant, animal, mineral and human worlds, shapes and colours come to life to create a joyful and fertile waltz, while at the same time creating a feeling of unfamiliarity and soft unease, of disorientation and mystery.