Ethics and Infinity: Conversations with Phillippe Nemo.
A nephew says some of these are monstrous. They however are not meant to express the artist's intent or person. They reflect the world. The world does not like to look at itself as is hence we can color this image with verbal association. Does anybody like calling it Hillary? Or how about Hillary at the Philadelphia Dolphin Convention coming up in July. Or it you like something sooner, how about Brexit EU? I hate it when art reflects the world and we have to thing about it.
After all this I must accept them after i have forgiven them for what they are, because there were previous stages in the making, as the past in an individual life, the amorphous forethought, the making of the clay, its lamination, the molding into form on the wheel, the separate parts waiting assembly, the stretching of the clay, the assembly and its bracing, the bending, molding breaking, the covering and hoping it won't fall, the finishing of the head, adjustments, the signing, the flattening the base so it will stand: all this precedes the bisquing and glazing when whites blend and intensities fade. Then the final firing and it cannot look like what it did before. That I may accept them after I have forgiven them for what they are.
-This represents the last in a summer series (so far) of what must only be called EMOTICONS in order to confront the mindlessness of those tongue tied idiots who use them, configured as they are to Disnify everything about their relationships. And if these images don't seem recognizable to you that's because they are the real misshapen, twisted faces that the elites have produced for consumption the commoner terrorist media. This one could be called Khizar Khan. Most of these Emoticons are two faced, even three faced, in order to show the duplicity and hypocrisy of their users. It won't be glazed for some weeks though. Its back story, illustrative of the make or break, demo and rebuild philosophy controlling our time. Ceramic puppets.
Their unvarying intensity of facial expression, impossible for living actors, keeps the imagination of the spectators continuously stimulated. When one of them is speaking or tumbling and the rest left aside, these, though in full view, are invisible, as they should be. Living actors have to learn that they too must be invisible while the protagonists are conversing, and therefore must not move a muscle nor change their expression, instead of, as beginners mostly do, playing to them and robbing them of the audience's undivided attention.
Puppets have also a fascination of their own, because there is nothing wonderful in a living actor moving and speaking, but that wooden headed dolls should do so is a marvel that never palls.
And they can survive treatment that would kill live actors. When I first saw them in my boyhood nothing delighted me more than when all the puppets went up in a balloon and presently dropped from the skies with an appalling crash on the floor. GB Shaw. Complete Plays: With Prefaces - Vol. 5