Monica Borca


Monica Borca exhibited at Galleria Gagliardi from 1992 to 2010.

Monica Borca is considered, with reason, the best Italian potter for the forms in raku ceramic. Her research continues in time to improve the clay and to be able to obtain more and more difficult forms, to achieve tall and thin figures that are, for this type of technique and clay, a bet against the laws of ceramics. The attention that Monica Borca also sets to the subjects is very important to understand that, further than being a prepared potter she is also a person endowed with great interior richness and particular poetic ability. In her formal research, she has assembled her refinement on shapes of synthesis, like: "Tao", "Cori", "Contatto", but surely in her sculptures "Darwishi", "Donne Elemento" and "Busti di Donna", Monica Borca reveals all of her greatness and completeness as an artist.

Pure Thoughts
Monica Borca is a woman who lives in the present, accepting that every day brings with it death and rebirth. This does not conflict with the challenges required for realization, which for her remains synonymous with change, growth and evolution. She lives and becomes with simplicity. Her hands are plunged into clay and her heart is ready to decipher even the smallest emotion. As her hands work the clay, her gaze turns to the close horizons of her daily world of emotions, to her various roles as a woman, mother, companion, artist, daughter, sister, friend. She lives out a microcosm of relationships in which human values add together rather than cancelling each other out, a universe to her poetic imagination. Monica Borca is a woman artist and sculptress who loves to portray love, the sentiment of love. Within the cycle of sculptures entitled TAO, for many years now, she has been creating pairs of anthropomorphic pots of rare beauty and poetry. Each of the two parts needs the other in order to live, the male recognisable by the protective gesture of the shoulders, the female by the affectionate forward movement of the hips. Although not touching, the two parts are intimately connected; while they seek their own individual equilibrium, they attract each other like souls that are destined for each other. They are spirits dressed in dark, opaque clay, clay that has been delicately scratch decorated and imbued with unique luminosity. They testify to love, to the Tao, to the broad road, and remind us that by living in the fullness of this sentiment we are all Taoists without being aware of it, through a choice that is fundamentally not a choice. She loves to represent the mystery of becoming, the process of realization and self liberation, which for her is never individual but intimately connected with the presence of the Other. In the cycle of sculptures entitled Contatto, the link with the Other becomes dynamic and generative, and in a certain sense indissoluble. It is the destiny of human beings to search for each other; the reward of reunion is to overcome individual identity through the possibility of perfection and thus reach a state of greater serenity. This can be achieved only if fuelled by sheared sentiments and mutual devotion. As in a game of mind and reality, the two shapes - through their mutual contact - germinate by enchantment a third figure in the space between them: the promise and reward of another higher identity. If the shapes do not meet, then contact is not made and the shapes lose their meaning, aquilibrium is destroyed and the sculpture vanishes. Monica Borca is a sculptress who loves to represent emotion and emotion and believes in the language of the body and gestures: emotion as a transitory state of the spirit, gesture as poetic opening out of the body into space. In this case her "Elemental Women" are represented in a group and occupy a space that is freely determined by the observer. They appear to evoke sentiments of subtle agreement and silent coplicity; They live through timeless sequences, still frames of metaphysical astonishment. Monica Borca's "Elemental Women" are spirits dressed in clay. They are an inherent part of the earth's femininity and, shaped by the sculptress, become bodies with harmonious sinuosity of gesture and movement. They have th black skin of raku figures and in their long garments appear to relive the yellow of the sun that has dried them, the blue of the sky towards which they all seem to be reaching out , the sea green and luminous grey reminiscent of the water and air they lost in the battle with fire during their chemical creation. They are named Earth, Water, Air an Fire, like the primary elements of ceramic alchemy and the fundamental symbols used in Taoist thought to signify the circular process of life and human becoming. Every kind of conflict in the combinatory dualism of the elements is a necessary condition for one's own transformation in harmony with the laws of change. The "Elemental Women" are spirits that seek each other out with a secret need to reunite.

Stefano Gagliardi, 2014

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