Anne Fløche`s direct very broadside approach to ceramics is unique, an overused word perhaps, but in her case quite true.
Powerful big cylinders, tall monolithic vases, wall plaques and big lidded boxes, Fløche not only scale up her pots, but uses clay as an expansive cutter and carver might, like a Brutalist sculptor or architect, like an archaeologist of accreted urban walls or medieval grafﬁti.
Fløche has moved away from most ceramic conventions. She employs glaze freely and spontaneously as an abstract painter would, often making the surfaces dry and pitted when we might elect a lustre. Clay is a broad canvas for Fløche, a free drawing board of notes and ideas.
Fløche`s world is often fragmentary. a language of highly expressive and uncompromising forms, textures and motifs. These are objects of immediate sensation, exploring the patinas and markings that trace and delete human histories and memories, while we simply enjoy their physical materiality too. Fløche is more a sculptor than simply a potter now, taking clay into a broader sculptural environment.
David Whiting. April 2016.