20 july 2023, Yves Joris
Yves Malfliet: exploring ceramic expression
Things can change rapidly. A few weeks ago, I had never even heard of the artist who shares my first name nor of the prestigious Faenza Prize he recently received. A visit to Gallery Sofie Van den Bussche changed all that. Impressed by work I could not immediately label, I decided to let artist Yves Malfliet talk about his life and work.
Let's start with an easy question. Can you tell us a bit about yourself and your artistic background?
Of course! I am a contemporary ceramist known for my eclectic approach to ceramic artwork. My artistic journey began during my studies in 1985, when I discovered the exciting world of ceramics. I was immediately fascinated by the ability to work in 3D and add colour like a painter does on canvas.
What attracted you to ceramics and why did you choose to work in this medium?
As I mentioned, what really attracted me to ceramics was the unique combination of three-dimensional work and painting. I saw it as a new way to bring my artistic vision to life. Initially, I had little interest in traditional ceramics, such as vases and pots, but an exhibition by Achiel Pauwels opened my eyes to the wide range of possibilities offered by the medium. It was a turning point that inspired me to focus entirely on ceramics.
Yves Malfiet, Heute kommen die Leute mit die 'koffieteute', 2023, Gallery Sofie Van den Bussche. Photography: Sylvain Deleu
Where do you get inspiration for your artwork?
Although ceramic art itself is not a direct source of inspiration, I draw inspiration from various art forms, such as theatre, opera and fables. It's the artistic expression, stories and emotions that really inspire me. There are also artists that I greatly admire, such as Neo Rauch, Paul McCarthy and Maurizio Cattelan. Their work stimulates my imagination and pushes me towards new ideas and perspectives.
The artists you mention dare to rock the artistic boat, so to speak. How would you describe your own artistic style or approach to ceramics?
My artistic style is eclectic and knows no boundaries. I attach little importance to the rules and standards within the artisanal aspect of ceramics. I don't consider myself a traditional ceramist, but rather a contemporary artist who uses the medium of ceramics to bring my artistic vision to life. My work can be approached conceptually, expressionistically, surrealistically and symbolically. The most important thing for me is that my work create an alienating and captivating ambience, often with an explosion of colour, that invites the viewer to look further and experience the work on a deeper level.
I imagine you are considered the odd one out among ceramic artists. Can you tell a bit about one of your most memorable ceramics projects? What made it so special?
There have been so many memorable moments in my artistic career. Recently, I was awarded the Faenza Prize, considered one of the most important international awards for ceramic artists. It was a great recognition for my work. I was honoured to be included in the long list of distinguished artists who have won this award in the past. It was a highlight in my artistic career and confirmation of my vision.
After a careful analysis of 70 works, the jury, consisting of the director of MIC Faenza Claudia Casali, Judith Schwartz, president of the Museum of Ceramic Art-NY, Ranti Tjan, who is director of the Royal Academy of Art in The Hague, and Tomohiro Daicho, senior curator of MOMAK in Kyoto, selected my installation Eclectic Paradise of Earth as the winner in the 35+ category.
From the jury report: The artist uses clay to reflect on the relationship between man, society, nature and the environment. Yves Malfliet evolves by reinventing his work through witty and stimulating creations. – The jury notes – The process of working with clay is characterised by multiple techniques that form a harmonious whole. The intellectual aspect of the work leads to an investigation of our society and on a deeper level, of the remnants of society through the amalgamation and apparent collapse of objects, enclosed in boxes in which everything is piled up, like knick-knacks or rubbish. The work encompasses the entire space – wall, table, floor – in a total installation of great originality.
Yves Malfiet, Lion Cornu, 2021, Gallery Sofie Van den Bussche. Photography: Sylvain Deleu
How important is traditional craftsmanship in your work? How does this relate to conceptual or artistic considerations?
Craftsmanship is not my top priority. Although I have a good command of the basic concepts of firing, building and glazing, my main focus is on the conceptual and artistic aspects. I believe that the story and poetry I want to convey should be stronger than the technical aspects. Naturally, I often receive questions about the craft, but I try to evade them and emphasise the emotional impact and message of my artwork instead.
What challenges do you often encounter when working with ceramics? And how do you deal with them?
Working with ceramics certainly brings its own challenges. One of the biggest challenges is the unpredictable nature of the medium. When my work is in the oven, I am often powerless and it can fail or even break. I have learned to accept these uncertainties and deal with them artistically. Sometimes unexpected results lead to new insights and takes my work in a different direction. I like to toy with the elements of fire and chance, which gives my art a certain sense of spontaneity and adventure.
How would you like people to experience or interpret your work? Is there a specific message you wish to convey?
I don't have a specific message I want to impose on my audience. I hope that people experience my work as an invitation to wonder and reflect. I want to create a complex, contrarian and often poetic atmosphere that encourages the viewer to further investigate and consume the work. My artwork often balances between humour and drama, similar to the dynamics we find in opera. The alienating aspect and use of objects as actors in my stories contribute to the versatility of my work.
Yves Malfiet, Vliegende meteoriet, 2023, Gallery Sofie Van den Bussche. Photography: Sylvain Deleu
You mentioned Neo Rauch, Paul McCarthy and Maurizio Cattelan. Are there any other artists or ceramic artists you look up to or who have influenced you?
Although I am an individual artist and follow my own artistic path, there are definitely artists I admire. In the Belgian contemporary art world, I enjoy the work of artists such as David Claerbout, Goele De Bruyn and Thomas Bogaert. But I also appreciate the work of Marcel Duchamp, Jef Geys and Guillaume Bijl. They all have their own unique vision and approach to art. On an international level, I am fascinated by the ceramic evolution in the Far East, especially in Japan, South Korea and Taiwan. They have a rich ceramic tradition and have interpreted that tradition in a very contemporary way.
To be frank, at times I am more drawn to the contemporary performing arts. Perhaps because the experience is more direct. I enjoy a director like Ivo Van Hove, but also a nostalgic circus like Circus Roncalli in Germany.
Does this have to do with the fact that you don't limit yourself artistically to ceramics?
That’s right. In the 1980s, I was as a drummer in the Belpop group ‘The Kitchen’, where the styling and scenography were just as important as our eclectic music style. At the beginning of this century, I founded the clown theatre ‘Circus Concordia’ with Philip Vercammen (until 2013), an absurd two-man performance with a rolling square circus tent (because everything turned squarely 😊). A few times, we also accompanied an exhibition with our performance: together with my brother, we went looking for art, once in Lederhosen and binoculars. On another occasion, we foamed asphalt roofs in search of art. At the time, it represented opposition to the often absurd intellectualisation of the art world. Sometimes, I combine my ceramics with recorded images in which moving or non-moving images are projected on to part of the work or alternatively, the work is completely contained within the image.
Yves Malfiet, The Garden of Small Delights 2, 2022, Gallery Sofie Van den Bussche. Photography: Sylvain Deleu
It was also your brother who introduced you to your current gallery, right?
That's right. My brother is a permanent artist at Sofie's and she asked him to suggest someone for a duo show. It was love at first sight. (laughs)(lacht)
What are your plans and goals for the future?
I let the future unfold organically and continue to develop myself artistically. I have some exciting events coming up, including my participation in a ceramics biennale in Portugal and a group exhibition in Wallonia. I may also soon be hosting an open studio together with the Sofie Van Den Bussche Gallery. I keep exploring new projects and refining my work, always looking for new ways to bring my artistic vision to life.
