With shifts in consciousness and a warming world, we are grappling with gradually losing all we had hoped the environment could offer. The natural world becomes, increasingly, fodder for a fantasy—a refracted chimera of buds, vines, and plump fruit. Caroline David’s work reminds me of my favourite video game, Rayman 2: The Great Escape. Rayman—though a bit of a simpleton—occupies a landscape that is ethereal, mysterious, and abundant. Bouncing plums, sparkling lums, teensies and Globox, this dreamworld feels safe because it’s so far removed from reality. It subsists despite human intervention, is ever-lush and effervescent. Caroline’s ceramics are similar in this way—real-life forms rendered with a delicate, cartoonish precision. Thick-petalled daisies that are drooping, melting and bulbous. The artist is an art director at Bloomberg Businessweek, and on the side sculpts vessels fit for a neo-primordial fantasy.
Caroline David’s Neo-primordial fantasies
Published in Issue 19
Text by Rebecca Storm
With shifts in consciousness and a warming world, we are grappling with gradually losing all we had hoped the environment could offer. The natural world becomes, increasingly, fodder for a fantasy—a refracted chimera of buds, vines, and plump fruit. Caroline David’s work reminds me of my favourite video game, Rayman 2: The Great Escape. Rayman—though a bit of a simpleton—occupies a landscape that is ethereal, mysterious, and abundant. Bouncing plums, sparkling lums, teensies and Globox, this dreamworld feels safe because it’s so far removed from reality. It subsists despite human intervention, is ever-lush and effervescent. Caroline’s ceramics are similar in this way—real-life forms rendered with a delicate, cartoonish precision. Thick-petalled daisies that are drooping, melting and bulbous. The artist is an art director at Bloomberg Businessweek, and on the side sculpts vessels fit for a neo-primordial fantasy.
Scans from comic anthology Clubhouse