James Rigler’s ceramic sculptures are reminiscent of monumental architectural elements and ornaments, yet high gloss surfaces and pastel or bright colours disclose their contemporary nature. They are often large in scale, and made from clay, supported by everyday materials. While creating his pieces, thoughts of ruined and abandoned ancient places, romantic landscapes and stage sets tumble through Rigler’s head. Aiming to blur the boundaries between significant pieces of architecture and everyday things, the artist creates works that take on the form of recognisable functional objects or architectural accessories. However, removed from their original context, Rigler’s sculptures adopt new meanings, thereby questioning architecture and decoration as well as its meaning.
Black Feet (2015), a pair of shiny black ceramic lion paws, developed from Rigler’s reflection on Empire furniture, where clawed feet are a frequent feature. Through the pristine, high-gloss glaze and the brocadelike rope trimmings, Black Feet also alludes to military boots. The combination of the lion’s paws with a boot-like form evokes unexpected narratives, and may even hint at the uncanny affinity between feet and shoes prevalent in surrealist art.
Brighton’s crafts collection includes works by leading national and international makers who have been influential in the development of British contemporary craft. In light of this, the acquisition of Black Feet, a contemporary piece by a young maker, is a vital addition to the collection, and relates to the important theme of ‘subversion’ within Brighton’s collection. Moreover, there is a relationship of Rigler’s work to the built environment, and a resonance of Black Feet’s hybrid shapes and high gloss surfaces with the interiors of the Royal Pavilion.
