With this serie I no longer use the coloured sand coating. What was concealed beneath the beautiful surface is now revealed. I want to show the inside, the body and the organs, how they relate to each other, how they all flow and meet.
It was my fascination for millennia of motion, the spinning around of the planets, stars and molecules and my desire to record the essence of this motion that resulted in these objects. I consider the turns in my ceramics like a wave that moves towards its highest point – the rising tension, just before the moment when the wave breaks.
That presentation not only resulted in her being awarded the 1990 Ceramics Prize but also in an invitation from a Japanese delegation to take part in the opening exhibition of the Museum of Contemporary Ceramic Art in Shigaraki, Japan.
Barbara found the inspiration for her Fossil forms in Cappadocia, a chalk-white Turkish landscape with dwellings hewn from the cliffs and weather-eroded masses of rock.
“The barrenness, the monochrome quality, the purity appealed to me enormously. These impressions led to unglazed, turned pots and vases, which were circumvented with rope, causing bulges to arise between the constrictions. This was the beginning of the series of Fossil forms, which emerged from a sort of spiral shape. First the cylinder of wet clay, wrapping a rope around it and then turning the clay outward through the pressure of my hands. In a subsequent phase I cut out the bottoms and laid these turned forms on their sides, so that a pot or vase became a free object.”
1979 – 1983
Between 1979 and 1983 I placed the emphasis on applying colour to turned pots. I based my methodology on the colour theory of the Bauhaus, in particular that of Johannes Itten. In the second stage bowls and vases in which coloured threads, brought from Mexico, are added as a decorative or constructive element.