Jeremie Thircuir' s ceramic sculptures pay tribute to the decorative arts of Europeanhistory, but his subject matter is rooted in the present and the everyday. Working inJingdezhen, the historic cradle of porcelain in China, Thircuir uses jade porcelain-arare material known for its unparalleled whiteness and purity. This porcelain, fired in agas kiln, produces a luminous surface that sharpens every detail and gives each workan almost otherworldly clarity.
Each sculpture is an exact replica of a fruit or vegetable, sourced directly from farmsin Jiangxi province. By translating, these organic forms into porcelain, he highlightswhat often goes unnoticed in daily life. Fruits and vegetables are some of the mostcommon objects we handle, yet we rarely stop to consider the elegance of theirstructure. Through careful modeling and a restrained monochrome palette, Thircuilstrips these forms of their practical and sensory associations no color, no scent, notaste-leaving only form, texture, and line.
The whiteness of the jade porcelain serves a deliberate purpose: it draws attentionto the sculptural essence of these natural objects. Without distraction, the viewer isinvited to examine the curves, folds, and rhythms that have emerged through millionsof years of evolution, What is usually seen as functional or decorative becomescontemplative. The familiar is transfommed into something quietly monumental.
Thircuir' s work prompts us to reflect on the overlooked artistry ofthe natural world. lnelevating, the everyday to the level of fine art, he challenges us to slow down, observe.and reconnect with the subtle beauty of the forms that sustain us.
Each sculpture is an exact replica of a fruit or vegetable, sourced directly from farmsin Jiangxi province. By translating, these organic forms into porcelain, he highlightswhat often goes unnoticed in daily life. Fruits and vegetables are some of the mostcommon objects we handle, yet we rarely stop to consider the elegance of theirstructure. Through careful modeling and a restrained monochrome palette, Thircuilstrips these forms of their practical and sensory associations no color, no scent, notaste-leaving only form, texture, and line.
The whiteness of the jade porcelain serves a deliberate purpose: it draws attentionto the sculptural essence of these natural objects. Without distraction, the viewer isinvited to examine the curves, folds, and rhythms that have emerged through millionsof years of evolution, What is usually seen as functional or decorative becomescontemplative. The familiar is transfommed into something quietly monumental.
Thircuir' s work prompts us to reflect on the overlooked artistry ofthe natural world. lnelevating, the everyday to the level of fine art, he challenges us to slow down, observe.and reconnect with the subtle beauty of the forms that sustain us.
