Lidya Buzio Ceramics
Cecilia de Torres, Ltd, 2012. Forward by Cecilia de Torres and essay by Garth Clark
Paperback. 7.75 x 9 inches. 147 pages.
This book has a curious perfection to it; it is a closed loop that mirrors the self-contained autonomy that Lidya Buzio’s ceramics demonstrate.
Firstly, the essay that anchors the catalog by Garth Clark (who is the Chief Editor of CFile) is a detailed, intimate, and comprehensive examination of Buzio’s art. Secondly, the visuals are stunning: the object photography is luscious and the book’s proportions perfectly frame the ceramics. Buzio’s work is modestly sized, but has a scale and impact that knows no bounds. Many of the works are represented true to size or at half to three-quarters size, which makes for astonishing detail. This book is almost as good as being with the work itself—almost. This could be attributed to the sensitive graphic design and the excellent photography but largely the feeling that you are in the presence of the work itself must be attributed to Buzio. Her unique combination of perspectival surface drawings that compound and contradict the hyper-precise clay forms creates the sensation that volumes have been “doubled up,” which results in the ceramics leaping off the page.
Lidya Buzio has shown extensively in the U.S and internationally. Her work is in numerous private collections and international museums including the Painting & Sculpture Collection of the Brooklyn Museum, New York; the Museum of Fine Arts, Houston, Texas; the Smithsonian National Museum of American Art, Washington, D.C; the Los Angeles County Museum of Art; the San Francisco Fine Arts Museums; the Honoloulou Academy of Art, Hawaii; the Victoria & Albert Museum, London; the National Museum of History, Taipei City, Taiwan.
Read our full book review on CFile here.