Tania Rollond is a potter already introduced to the Thisispaper's audience, yet there is never too much of a good ceramic with a thought standing behind it.
This time we share the newest project in Tania’s output, the series titled New Songs. Tania’s working on the collection was accompanied by nostalgic reverie over the profession of the potter and its role in transforming and immortalizing contemporaneity in a physical permanent form.
„It is the task of ceramic objects, such great archeological survivors, to carry a snapshot of their particular moment in time through history. For humans, the opposite is true; we are brief sparks in an ever-changing parade. I wonder if, along with the jewellers, we potters must be the artists most obsessed with time and its passing? If we must be the artists most marked by that obscure sense of loss, most filled with an impossible longing for permanence? Or is it just vanity to presume this; will future archaeologists cherish plastic not porcelain? In any case, there is some solace in the solidity of ceramics. In almost any archeological dig, shards will be there, mere fragments nonetheless capable of evoking the larger picture of a human civilisation that once was, and no longer is,” Tania questions.