Michael Boroniec is an American artist, based in Massachusetts who studied at Rhode Island School of Design. The peculiarity of his art resides in the use of ceramic as a primary material. Boroniec’s Spatial Spirals series involves to create sculptural objects by modelling vessel thrown on the wheel, into open spirals. His body of work aims to confer elegance and motion to a material which is normally perceived and hard and heavy. We speak to the artist about his processes and the mutual effects of art on the individual.

A: What made you first think of using ceramic material to produce works of fine art?
As a child I always loved to paint and draw. I would de-assemble my toys to see how they worked and rebuild something entirely new. When I was 8 my mother would take me to ceramic classes. It was here I first felt clay could take on an infinite amount of forms and expressions. Not only is clay one of the most abundant and oldest materials on earth, making up 75 percent of Earth’s crust, but it is deeply rooted in civilizations. To me it became a material of expression in a long lineage of history.

A: The material you use undeniably holds a tactile nature that perhaps other art media lacks, is there something specific that you find within this that resonates with you?
 There is something humbling about feeling the earth between my hands. Even when I paint I don’t like to use a brush. It is the physical connection between material and consciousness, working innately with a medium so malleable that transmutes into “stone” and becomes permanent.

A: Do you think that a physical craft is linked to a psychological state of mind?
MB: Yes, it makes the artwork more impulsive, more in the moment. There are signs of human touch and for that reason it is a more intimate artwork than industrial made works that we see so much of today. The physical connection between the earth and consciousness lends itself to an introspective state.

A: What, if any, is the message behind your work?
MB: My work takes what many consider a craft and bridge the gap to what people consider Fine Art. When I look at Art I find myself I am drawn to works with a lot of skill, patience, and dedication to a material as well as a strong conceptual aspect. I try to bring that same dichotomy to my work.


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