Artist Statement

“Stubborn” is a collection of figurative ceramic sculptures that merge direct references to classical statuary with unexpected elements. In this work, I explore transformation through the violent incorporation of blunt objects. Materials such as wooden studs, steel tubes, rebars, and bricks were used to strike the clay while it was still malleable, and I chose to retain these objects as integral parts of the final sculptures. By incorporating these industrial objects, I attempted to highlight their contrasting materiality against the ceramic, emphasizing the distinct damage and marks they leave on the wet clay. These frozen attacks on the sculpted figures reveal themselves as a metaphor for my ongoing struggle to define my own identity.

Two key components of my identity are referenced in these works: classical statuary and Catholic iconography. I was educated in Cuba as a Western artist, deeply influenced by the traditions of Greco-Roman art and its revival throughout history, as well as by the Catholic themes and imagery that have been present in Western culture. On the other hand, being born and raised within a Catholic tradition, I have been exposed to the fascination with sorrow and pain from an early age. This has left deep-rooted subconscious echoes of belief in the redemptive power of suffering in my mind. Furthermore, my personal experience of migration has also reaffirmed my view of stoic existence. All these influences subtly infiltrate my artistic process, prompting me to engage with it on a visceral level.

While these themes have appeared in some of my previous works, in “Stubborn”, they come together to create a more direct dialogue. In this series, I tried to capture a broader sense of enduring extreme suffering as a prerequisite to legitimate existence. Each sculpture embodies violent gestures that ultimately give rise to a new object, containing both the original shape taken from classical statues and the implements of torture. In a sense, these sculptures freeze moments of pain and anguish, somehow echoing historical depictions of the martyrdom of saints.

I worked in this body of work using an innovative fusion of traditional and contemporary techniques, exploring the nuanced interplay between intention and accident within the artistic process. I also incorporated 3D modeling techniques in crafting these pieces, specifically using PLA and clay printing tools. Unlike the more typical uses of ceramic 3D printing for abstract forms, design projects, or vessels, I focused on producing figurative sculptures. By navigating the limitations of this process, I have tried to contribute to the evolving landscape of ceramic 3D printing in ways that deviate from common trends in the field.

Traumatic experiences are universal, and in this way, I believe my sculptures can resonate emotionally with everyone. Although inspired directly by my personal journey, I believe this works reach beyond the individual, touching on collective human experiences of suffering and resilience.

Carlos Enrique prado, 2024