Twenty five years ago, Hiram Rosado Poupart decided that he needed to find out what he and clay could do, together. He had a driving need to explore, passionately, the possibilities of the medium within the realities of his life. The decision could not be delayed: it was a matter of survival, of happiness, and of instinctive aesthetic expression. After graduating from Law School, he gave up his degree in order to go back to the art of Ceramics, becoming a full time ceramist.
His work is shows a connection to Nature, but the organic forms he produces take off on their own and are entirely original. These forms, in large or small format, are an exploration that goes beyond what he observes, even in the microscopic realms, and become purely innovative and “never seen”.
In this vein, he produced a series of large scale pieces that surprise, not only for their shapes, but also for their construction technique. The traditional “rope” method is, literally “torn to pieces” and then rejoined in various harmonious formations that constitute the building blocks for the forms and the portrayal of the concepts from which they originate. This produces textures that seem to have a language of their own and stir in the spectator the desire to touch, to experience, the building process, and thus the creative process itself. There is a “rhythmic vertigo” in them that throws the viewer back, through time and history, to the roots of the medium, to the origins.
These large pieces, constructed in this process, emerge from intensive “campaigns”, sometimes two and three at a time. Almost from the start, the nascent pieces are sensually rich vessels, whose interiors are as tempting to the touch as the outer surface, and as conducive to imaginary travels. The patterns of light and shadow, formed by the ridges, remind us of unexplored landscapes in extraterrestrial worlds, inviting us to never-ending explorations. Full of primeval references, the resulting surfaces, emphasized by oxides and glazes, connect to The Earth, from where the material comes, and transport to futuristic realms.
His recent small format work impress by the way in which organic forms are integrated and juxtaposed to geometric counterparts that do more than just act as bases. The contradiction communicates the intended tension inherent to the series. Both elements are interdependent and contrast and complement each other, simultaneously. They coexist while they pull our sensitivities in opposing directions. Life and death, cold and warmth, softness and hardness, depth and shallowness; they can all be perceived in their presence.
Then, to some of the pieces, he adds a third element : whimsy. Showing a poignant sense of humor, he has populated them with creatures, simple and fantastic, that take their places with an unequivocal sense of belonging. We accept this creatures and the fact that invented shapes and contrasting propositions is their natural habitat. Posed somewhere between the realms of animal and vegetable life, these beings are also suspended between mineral and animated existence, a veritable crossroads of realities. When we share our living space with these pieces, we open ourselves to all sorts of existential possibilities.
For Rosado: “All shapes are important, all life is important.” “The ceramic medium is too passionate to be ignored. All my life I’ve loved it and even death will take me to the origins: the clay.” Hiram Rosado’s work shows a steady trajectory where solid technique serves an ever expanding vocabulary of created shapes and feelings. The next wave is likely to give us further unprecedented experiences with form.