I have seen Sabine Pagliarulo at work, and she works with a full mind and a full heart. She moulds precious stoneware and produces her own glazes. The cooking temperatures are high and the surfaces vibrate between rough strata of patinae, oxides and spongings. Nothing is left to chance in her work. She overcomes all doubts to achieve a fresh, light and definite result.
This is one of those cases in which bare matter is ennobled by personal technique, and by the obstinacy with which Sabine works at the surface of things. Her artistic course has traced its path from classical approaches to all the forms of clay-making: terracotta, raku pottery, porcelain, and now high-temperature firing. But her value as an artist does not originate from following the rules: it is more a question of intuition, of craft and innate elegance. Her sculptures are not merely jobs well done – they are of the same substance as nature. Sabine Pagliarulo feeds on organic, vegetable nature.
All of this artist’s work is done with great skill, but in very personal fashion – at the crossroads of genres, mixing different tendencies, at the very edge of representation.
Stylistically, Pagliarulo’s works are at the forefront of this decade’s ceramic techniques. They reproduce the current mood and climate, but they stop just short of becoming obvious and predictable.
By turns informal and rich in naturalistic inspiration, all of Sabine’s works must be mounted on an ideal stage. It is as if we were in front of a sumptuously laid table, and as she herself likes to say: “Every piece takes part in a theatrical production unveiling a world that is full of memories and emotions – a near-dreamlike world, where sculpture finally discloses its contemporary and aesthetic purpose.”