The ceramist (potter, to be precise) Bernard Thiran hasn't ceased the fight against artistic categories which locked his practice in creation zones having been judged secondary or inferior. Sometimes raising his oeuvres of plastic elements (tea pots, vases etc) he was inspired by creation forms typical to the history of art. Also, several series of work are covered with scratched graffiti. A kind of instinctive writing is scattered on the surface like a wild calligraphy which evokes experiences leading to the limits of design and writing.
Sometimes the ceramist still prints photographic prints on the enamel surface already covered with graphic signs. The themes of the photographs are from disaffected industrial sites, the traces of human activity can be seen. So, the earth regains its function as a recipient of memory. It keeps the physical traces of the human actions (casting and writing) like an image of their realisations.
Born in Kinshasa, Zaire, in 1954
Lives and works in Hastière
In 1984, foundation of the group Namur-Bouge together with the ceramists Della and Sleppe
In 1992, realisation of the Caïus for the Foundation Promethéa, to compensate for the company's patronage
Various individual and collective expositions in Belgium and abroad
Integration of oeuvres
Fontaine (the fountain), at the casino of Namur
Vierge à l'enfant (the Virgin and the Child), Chapel Notre Dame-au-Bois in Wépion