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initially trained as a sculptor, first at the Beaux-Arts in
Nancy, before going on to the national and superior version in
Paris, finally discovering clay at the Akademie der Bildenden
Kunste in Vienna. Coming from sculpture to clay has always
been the more rigorous road rather than viceversa, and Pit's
new works prove the point with their display of refined
concentration with the chosen idiom of architectural
abstraction. As in Kafka, where the overwhelming negation of
individual endeavour generates depression, the reader is saved
from suicide by the heroism of the tiny gesture. So it is with
Pit's work where the annihilation of comprehensible human
references is compensated by the exquisite attention paid to
surfaces and seemingly insignificant details.
Finally we know that the prisoner loves his cell, which is
hardly the kind of statement that you would read the lips of a
potter turned sculptor.
Revue
Ceramique ＆ Verre Nr. 126 September/October
2002
N.A. Nigel Atkins |
