Pinçon was born in 1952, and studied visual arts at the University of Paris 1. Alongside he was apprenticed to Jacques Vilain- preparing clay, pouring, sizing, throwing, glazing and wood firing.
RENDERING TO THE EARTH
These days I use an electric kiln, to avoid relying on luck. Transforming clay into ceramics is a deliberate act, and I carry out a lot of research and experimentation with colour, texture, materials, their possibilities and limitations in order to find the building blocks of my own language for the visual arts. It is a language which I use to express what comes from within me in a non-verbal form, and which lends perspective to how I exist in the world, and perspective to the world as it presents itself to me. I chose clay because it is Earth, because it is malleable, tactile, submissive and aggressive; because you think you can hear it inhabit a space, when it is contained by the hand of the person throwing the pot, because it smells fresh as a new dawn, because it gets between your fingers, because it is very fragile and extremely hard, because it has substance, thickness and heft, because it can last forever, because the whitish and dark decorations change into soft satin tints, as simple grey turns to colour in the blossoming torment at the heart of the enclosed kiln. And even when we peer through the opening that we call looking, all we see is scrolls, whirls, outlines, light, sometimes shining.
When I open the kiln in my quiet studio following a trial by fire, a secret battlefield where nothing ever dies but everything comes to life, I experience the primitive pleasure of hearing rock cooling like a glorious concert of bells, the sublimated cries of substances who find peace in their final battle.
As if I had succeeded in rendering to the Earth what I cannot give to Man.