Look at it this way: the greatest beauty passes.
We can divine it through glimpses and dreams. We can long for it. But we can never make it captive.

Ceramicist Mia E Göransson’s art is constantly moving forward and past us, passing with a stream of items that are all pieces of a dream of material
transformed into feeling.At the end of the 1930s, Marcel Duchamp reflected on a concept that he called “infra-thin”, a state of being in between that
was concerned with the separation between the concrete object and the dimensions underlying it. Infra-thin was the threshold between outside and inside,
images on a misty window, the warmth of a chair that someone has just vacated, the moiré effect on fabrics, the minimal distinctions between “identical”
objects, the negative and positive surfaces of a mould. Beyond all this, infra-thin was the idea of the possible.

The staggering possibility that a handful of paint tubes could actually become a painting by Georges Seurat was, in the view of Duchamp, infra-thin.
Mia E Göransson’s ceramics link up with this thought system like a ceaseless meditation on materiality. Even if the individual items are locked into fired
clay like ceramic snapshots, in aggregate they seem to be on their way to somewhere. Her objects are pieces of a puzzle rather than keys, fragments of an
uncharted whole – and this is the magnetic quality of her work.
There is no manual, no instructions. The map of Mia E Göransson’s ceramic landscape is drawn item by item. Each object gives an intimation
of the next one and the narrative of the material is built up, piece by piece to create a mysterious mood of something perfect yet broken;
and of a sadness at absolute perfection.
Historically, ceramics have been centred round the single object, its function and its charisma. In recent years, crafts have loosened their chains
and craft materials have been re-mixed in a hunt for new ways of expressing popular-cultural references, retro and kitsch.
Media interest in visual images has benefited this move.

A good picture means a good object. New technology in the form of 3D printers, CAD programmes and the amorphous worlds of computer games
influence how we perceive form, shifting us in the direction of a fleeting aesthetic that has an affinity with Marcel Duchamp’s infra-thin concept.
Mia E Göransson’s ceramic world links up with this. She produces individual objects but arranges them as still-lifes and groups of figures that seem to
have their roots in a child’s doll’s house or in model-building. Her ceramic objects have the delicate fragility of china figurines.
They are dainty and sweet like iced cakes or grandma’s fancy goods but they are not content to rest in this state and they worm their way out of the
romantic vice.

Picking flowers to decorate a room has been a human impulse since time immemorial. At some early stage in our history the impulse turned to ceramics:
in the ancient Chinese floral reliefs, in figurines from the Meissen works or, closer to home, in the fruit buds and leafy vines of faience from Rörstrand
or contemporary ornamentation and febrile pattern-making. The actual forms of plants are present in Göransson’s ceramic art and, with a botanist’s eye,
one can delight in the details, the colour combinations and the precision of her craft skills. But it is precisely at this point, in the sensitive spot where the
human heart gives in to nature, that she has poisoned the romance. Her “new nature” is no longer a peaceful oasis; it is infected with threatening changes.
There is a flash of pain at the alien nature of something familiar: a sulphur-yellow bud, a pink chip of rock or an orange branch. The nature in Göransson’s
ceramics is an ancient nature, plucked from its biological habitat and resurrected in abstract form. A section is sliced through the plant forms,
but also through our own images and memories of nature. Details are chopped, cut away, torn from their context and assembled into ceramic surrealism.
It is somewhere here that the narrative of fragile humanity is to be found: the balance in everyday life between joy and sadness, worry, fun, stress, future,
family life; all surrounded by nature’s impassive but ever-more threatened interaction.