FERIUS CERAMIC ARTS
Fe Rius infuses emotional weight on her mirror art by developing physical and expressive tension through the textures, shapes and colors of the materials with which she creates her pieces, which seem to be in a state of metamorphosis, frozen in timelessness.
This melding of the common and the spiritual is rooted in the rich life experiences of a true global trotter who, from her childhood in Barcelona was surrounded by art, and driven by the desire to know other cultures. Her transit across 2 continents and through the world of the hospitality industry, social activism, education and the healing arts, has added to the baggage from which Fe draws to materialize her flights of imagination.
Fe arrived in Wilmington in 2015, and currently balances her work as middle school teacher with a budding career as a local artist. A life-long learner, she continues exploring and growing as an artist through a variety of workshops and courses given by professionals in diverse media.
Fe Rius is a member of both, the Wilmington and Leland Arts Associations. She has shown her works at Tidal Creek Cooperative, the Cameron Art Museum, and several prestigious Art Festivals in Wilmington and Leland.
Our perception of time is at the very least, highly subjective. We are obsessed with time. We don't want to lose it. Yet, we let it slip through our fingers. We live in perpetual contradiction with regards to time. We are constantly running against it, but yearn for "old times" as we hope for the future to favor us. Some say that past and future don't exist, that the only reality is the "now", while others say the present is an illusion because as soon as we become aware of it, the moment has already passed. This series symbolically explores the complexity of our relationship with time, through the interplay of colors, textures and materials. It reflects the variegated ways in which all our lives are interwoven by way of tension and cooperation to create a beautifully fragile but harmonious whole.
Mirrors have been central to every aspect of human life since ancient history and continue to revolutionize how we see ourselves. My mirrors aim to expand and deepen this connection by surrounding the glass with a menagerie of shapes, colors, textures and materials that echo the complex context in which we display our true natures. The process transmutes the otherwise utilitarian object into an artistic medium for the expression of creativity and emotions.
Each mirror makes a unique statement, not only because each piece on which the frames are set is in itself the product of an adventure in sourcing; I work with an improvisational mode, and soon after inception, the work seems to take a life of its own. I establish a dialog that dictates whether to use a smooth river rock, or a fragment of pottery reclaimed from a trash bin, a piece of stained glass, a shell from a favorite distant beach, or brass object collected during an afternoon of deep fishing in a neighborhood flea market. Occasionally, in mid process, the void of a shape stands out and off I go, to the pottery studio, to create the glazed shape that will fit just that special place.
With this limitless reinterpretation of a domestic object, I challenge preconceived ideas of the mundane, inviting the onlooker to pause in his or her indulgent contemplation of the self; to muse, even if in brief passing, the story offered by the shards of life which surround us.