While Elsa Sahal may be re-enacting the act of creation, her work is in no way governed by some spiritualizing intent preoccupied with a quest for sanctified origins. In fact, by using ceramics—this domestic art form largely ignored by the history of art—Elsa Sahal prosaically reconnects with the wretched, earthly and feminine face of the human condition, while disassociating herself from a representation of man as a spiritual being and the cause of an array of toxic oppressions—social, environmental, racial, and gender- based—since the Enlightenment.
