Born in 1962 in Beveren, Belgium
Lives and works in Russeignies, Belgium
Anne Marie Laureys’ life-long love for clay began during her studies at the Luca School of Art in Ghent, Belgium. Since her first experience working in clay, Laureys has not gone a day without and considers throwing pottery to be her personal language of communication with the medium.
The current iteration of her critically acclaimed work arose from the desire to maintain the clay’s tactility and the excitement of the medium, as well as the need to test its limitations. There is a wholeness in the tension that holds her sculptures together, which lies in the blurring of the interior and exterior boundaries; thus the cloud-like solids approach the form of the vessel not only as a frame or container for void, but as void itself. That is not to say that these pots are empty, for Laureys calls her vessels “metaphors for feelings.” The deconstruction of the lip, the vessel’s boundary between interior and exterior, is indicative of Laureys’ boundary-pushing methods. The spacious, fine forms that Laureys throws on her wheel and sculpts into clouds with her fingers “hide the inside while framing the outside.”
Her work has been exhibited at the Icheon Biennale in South Korea, in Taiwan (Yingge), Japan (Mino), China (Changhai), and more recently in the United Kingdom, Switzerland, France and at Florida’s Boca Raton Museum of Art for the exhibition Regarding George Ohr: Contemporary Ceramics in the Spirit of the Mad Potter (2017-18).