Pep Gómez's pieces are of a protest nature and at the same time a reminder of his origins.
A free gesture
Pep Gómez is from everywhere but especially from the land of ceramics. Born in Catalonia, student at the School of Fine Arts of Tarragona, trained in the workshops of the Balearic Islands and in Japan, he is finally in La Borne, in France, where he settled almost two decades ago, in this potter's town of Berry. , famous for its cooking with wood ovens. Whether he makes utilitarian or sculptural pieces, whether he works on the wheel or using churros, his pieces have archaic surfaces stained with orange peel or covered with an eruptive glaze, which some compare to "Fat lava" ceramics (lava effects). evoking what in painting would be abstract expressionism. Generally made with stoneware, sometimes enriched with granite or kaolin, they always bear the imprint of his hands or the various tools he uses. Because what he really cares about, after so many years of practice, is maintaining a certain spontaneity. There is, therefore, no Pep Gómez style, except that of freedom, the one taught to him by the maestro Ryôji Koié and which distances him from any routine.
Sabrina Silamo
Pep Gómez's pieces are of a protest nature and at the same time a reminder of his origins.
A free gesture
Pep Gómez is from everywhere but especially from the land of ceramics. Born in Catalonia, student at the School of Fine Arts of Tarragona, trained in the workshops of the Balearic Islands and in Japan, he is finally in La Borne, in France, where he settled almost two decades ago, in this potter's town of Berry. , famous for its cooking with wood ovens. Whether he makes utilitarian or sculptural pieces, whether he works on the wheel or using churros, his pieces have archaic surfaces stained with orange peel or covered with an eruptive glaze, which some compare to "Fat lava" ceramics (lava effects). evoking what in painting would be abstract expressionism. Generally made with stoneware, sometimes enriched with granite or kaolin, they always bear the imprint of his hands or the various tools he uses. Because what he really cares about, after so many years of practice, is maintaining a certain spontaneity. There is, therefore, no Pep Gómez style, except that of freedom, the one taught to him by the maestro Ryôji Koié and which distances him from any routine.
Sabrina Silamo