Being a ceramist implies that the person who practises this branch of sculpture claims the status of demiurge. Is it not he/she who must, to achieve their creation, master the four elements as well as possible? Earth, water, air and fire combine to produce an object born of their enigmatic alchemy. As this very production has the capacity either to be of everyday use, to which the craftsman humbly dedicates himself, or to become material and shape to bear testimony to a vision of the existence and the universe the artist is working on with the pride of those who are likely to renew our perception of the world.
Sophie Ronse’s career is quite unusual. Indeed, having seen the monumental sculptures of her beginnings, one could hardly have imagined that she would now focus on intimistic works. However, these first constructions, abstractions without any rigorous geometry, thus almost without strict angles, with the exception of Nihil, had in their DNA of clay the curves which constitute the base of her present aesthetic.
The curve is par excellence what moves, insinuates itself, caresses, gets through everywhere without resorting to the radical violence of the straight line. We link it with femininity, the ability to achieve the serenity of what rounds angles, an antinomic dynamism towards immobility and especially the absence of mobility. It is a sign of genesis.
Sophie Ronse went through the transitional stage of fragments. Islands with irregular and jagged outlines, kinds of mini-continents adrift, scattered or gathered in an archipelago, which already at that stage were ready to be given orientation.