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Stratification, metamorphosis and reappropriation characterize the work of Guido Geelen (1961, NL). Geelen is an artist who acquired international fame with his sculptures of utilitarian objects – washing machines, vacuum cleaners, books – in fired red clay. Chance is Logical includes two of Geelen's goblets from the series Spectrum, an ongoing series of works that began in 1988. As a form the goblet has a rich historical tradition, ranging from the simply to the lavishly decorated. Geelen used a soup terrine as a mold for his goblets. He developed his sculpture on the basis of the bowl shape, stacking it downward and upward, and with the characteristic handles of a classic terrine. Geelen's goblets have no smooth surface; on the contrary, they consist of wildly kneaded strands of clay that still show imprints of fingers. The dynamic quality of their surface is intensified by the frequently colorful little figures that appear on it.
Some figures have been kneaded into shape, while others are transferred decals of flora and fauna, like those marketed by the company Mulder during the 1950s for the decoration of bowls and vases. The pictures of cows, sheep, chickens and even an occasional farmer's wife playfully allude to Dutch farm life. At the same time they evoke associations with the world-famous porcelain produced by Meissen. When seen close up the multicolored figures look realistic, but at a distance they transform into patches of color which, in combination with the various hues of glaze, seem to give the sculpture an abstract character. In this way, via the color spectrum, Geelen allows time, and thus history, to become fluid.
Some figures have been kneaded into shape, while others are transferred decals of flora and fauna, like those marketed by the company Mulder during the 1950s for the decoration of bowls and vases. The pictures of cows, sheep, chickens and even an occasional farmer's wife playfully allude to Dutch farm life. At the same time they evoke associations with the world-famous porcelain produced by Meissen. When seen close up the multicolored figures look realistic, but at a distance they transform into patches of color which, in combination with the various hues of glaze, seem to give the sculpture an abstract character. In this way, via the color spectrum, Geelen allows time, and thus history, to become fluid.
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