Ateliers Courbet is pleased to unveil Livani and Chasma, two new series of vessels by Greek-American artist and ceramicist Peter Speliopoulos, opening January 14th, 2025, at Ateliers Courbet (134 Tenth Ave., NY, NY 10011). Inspired by incense with its resinous cracked surfaces in burnt blacks and browns, Livani marks Speliopoulos’ latest body of work and the artist’s first foray into traditional wood firing techniques.

Fired in a Japanese Noborigama kiln, these pieces underwent a rigorous process of continuous wood feeding for two days, followed by a five-day cooling period. The results are a testament to the transformative power of flame. Utilizing an ancient stoneware clay, specifically chosen for its natural properties and reactions to the high temperatures of reduction wood firing, each piece is then glazed internally with a Tenmoku glaze, while the exteriors are lightly slipped and minimally glazed, allowing the clay to interact directly with the fire. The metallic sheen on the surface of the piece is a product of the high temperatures and direct flame contact with the clay. This technique captures and embraces the serendipitous effects occurring from the firing process, bearing the results of ancient traditions.

Speliopoulos’ series, Chasma, draws its name from the Greek word for ‘chasm,’ a term often associated with mythological caves, particularly those linked to the underworld. This body of work bears a personal significance for the artist, as it references his surname ‘SPELIO,’ which translates directly to ‘cave’ in modern Greek, originating from the ancient Greek ‘σπήλαιον’ (spelaion).

Inspired by caves as portals between realms—connecting the underworld to heaven, serving as sanctuaries for Gods, and embodying sacred spaces—these works symbolize creation, the cyclical nature of life, and rebirth. Speliopoulos, influenced by Jung’s portrayal of caves as ‘alchemical vessels, symbols of the unconscious,’ crafted this series in black stoneware ceramic. He initiates each piece on the wheel, then meticulously hand-builds and sculpts the intricate adornments.

Each Chasma sculptural vessel rests atop a hand- crafted base, designed to allow the flow of air beneath. This elevation of the vessels echoes ancient Greek cultural practices, where legged objects often held religious and mythological significance. It was believed that the space underneath these forms facilitated the passage of chthonic spirits or divine inspiration, acting as a conduit between the physical and spiritual realms. The concept of creating space for spiritual passage marks a continuation in the evolution of Speliopoulos’s ceramic practice. It follows his previous solo exhibitions— Archaeos, Chthonic, and Miteria—all of which draw inspiration from Greek beliefs about the interplay between tangible and metaphysical worlds. In Chasma, Speliopoulos further explores this intersection, crafting pieces that serve not just as objects, but as bridges between the seen and unseen, the earthly and the divine.