Samuel Sarmiento’s Ceramics Channel Universal Memory in His U.S. Debut
The ability of a given artwork to resist being stripped of meaning over time is most often the result of its link with a continuous heritage of symbolic and archetypal materials that humans have shared across centuries and geographies to explain the complexities of existence. As J. M. Coetzee suggests in his 1991 essay “What is a Classic?,” the works we call classics endure not because institutions protect them, but because they speak across time, finding new interlocutors in each era. A classic has a living presence, retaining dense symbolic meaning and demanding response and re-interpretation even as society changes.
Engaging directly with the rich repertoire of symbols and myths of his native Venezuelan Caribbean and extending to cross-cultural resonances and similar narratives, artist Samuel Sarmiento engages with mythopoiesis directly using clay as a medium. A rich heritage of oral traditions and community storytelling is observable in his seductive kiln-fired ceramic sculptures: articulated, overlapping visual narratives and inscriptions like ancient tablets or natural fossilized traces. In the new works in his U.S. debut show at Andrew Edlin, “Relical Horn,” Sarmiento experiments with the elemental potential of clay, playing with the different transformations ceramics can undergo and embellishing his creations with patinas, glazes, pigments and even gold. His kiln’s searing heat yields kaleidoscopic, granular and liquid surfaces.
Through these alchemical processes, artists and artisans have collaborated directly with the principle of entropy and the transformation of matter for thousands of years. Clay is fired at temperatures at which any organic substance would be pushed into extinction or fragmentation, but Sarmiento transforms ceramics into living cosmogonies that embody a rich reservoir of ancestral myth and cross-cultural archetypes, layering oral traditions, Caribbean cosmology and intuitive mark-making in fragile yet enduring vessels of memory.
“One of the primary purposes of ceramics is containment,” Sarmiento tells Observer. “Initially, ceramic objects held valuable resources such as
For hundreds of years, ceramics have served as markers of the time they inhabit, Sarmiento reflects. “They have remained one of the principal mediums for deciphering a people’s ethnography because they can withstand the passage of time.” This idea of time—of encapsulating mythological and spiritual heritage in a vessel capable of preserving and carrying it across generations—is at the heart of his practice. His ceramic works function as artifacts of collective memory, shared wisdom and mythical imagination, helping humans better understand their place in the cosmos and within the relentless flow of time.
Sarmiento notes how French writer Roger Caillois, in The Writing of Stones (1970), argues that rocks and minerals, like landscapes themselves, have the capacity to harbor memory. “The artistic exercise of taking clay, which is part of the landscape, shaping it into forms like crowns, shells, nests, or ornaments and simultaneously using it to contain information creates a symbolic refuge,” Sarmiento explains. “Through this alchemy, an artwork can help humanity preserve what little wisdom we have left.”
Examining the dense narratives that adorn the surfaces of his sculptures, it’s almost impossible not to read his practice through a Jungian lens: his work is a conduit through which archetypes and ancestral symbologies—shared across cultures—reemerge from the collective unconscious. “I believe visual artists and writers alike are collectively searching to connect with the invisible,” Sarmiento says, pointing out that this urge becomes even more pressing in periods when truth is most difficult to discern.
“In my artistic practice, I utilize ancestral narratives from the Caribbean and South America, and sometimes Africa—not for exoticism, but simply to exalt the human condition,” he explains, noting that this often takes the form of rites of passage. “We are beings in constant movement.”
A recurring element in his work is the female figure. Whether mermaids or spirit guides, they guard the narratives that appear on the surface. In many cases, these figures can be associated with nature or feminine deities like Yemayá, who represents the sea, Sarmiento says. They are figures of healing, protection and renewal in a world that needs external intervention due to humanity’s inability to resolve itself to the present.
Across centuries and geographies, the female figure has been associated with birth, life and protection, mothering the world in a relentless cycle of generation, transformation, decay and renewal. And it is in times of great despair and chaos that these figures and the mythological world they inhabit can guide us into a metaphorical realm that helps us see beyond the present moment and reconnect with something deeper and universal.
A self-taught artist who has only recently begun to engage with the broader international art world, Sarmiento preserves a raw and primordial visual lexicon that appears to have escaped the influences of both art-historical tradition and contemporary art market trends. The apparent simplicity or naivety of his language results from a spontaneous and intuitive process of channeling, in which ancient symbols, myth and memories emerge from the collective unconscious and are translated into new forms through a contemporary practice.
As Michael Meade explains, to see with mythic imagination is to see metaphorically—referring to the old Greek word metaphor, which means not just to see beyond, but to be carried beyond the limits of linear time and literal thinking. “The new territory or new world only comes into view and becomes conscious to us when a new vision arises from the darkness around us and from the unseen depths of our own unconscious,” he said in a recent podcast, which profoundly resonates with what Sarmiento is pushing with his art: not a new world but a new vision in which past, present and future coexist.
The sensibility of the work lies in synthesizing and connecting seemingly disparate references to create new poetics, Sarmiento explains, walking us through a richly layered ecosystem of references that idiosyncratically exist in his work, spanning from Jorge Luis Borges’ short story “The Circular Ruins” (1940) to Robert Smithson’s Spiral Jetty (1970) and the movie Fitzcarraldo. As an exercise in argumentation, he takes these primary ideas and pairs them with Caribbean concepts and mythologies. Some of the show’s pieces reference the legend regarding the origin of the continents, which are said to have emerged from ruins and furrows located on the seabed.
Living for more than 13 years in the Dutch Caribbean has allowed Sarmiento to accumulate a vast library of oral narratives. Having been born in Venezuela, a country with a rich literary tradition and also multicultural connections, Sarmiento was motivated to approach art through universal stories. “All these references converge in a single object—whether a two- or three-dimensional sculpture—which often possesses geomorphic characteristics resembling sea coral or honeycombs,” he explains.
Sarmiento’s encyclopedic lexicon fluidly draws from ancient oral tales as well as more recent books. He mentions Guns, Germs, and Steel (1997) by Jared Diamond and The Invention of Nature (2015) by Andrea Wulf as part of his contemporary references. “One of the fundamental characteristics of oral narratives is their ability to explain complex processes through simple images or stories,” he elaborates. Tropes can be accessible at different levels—what Homer once expressed, Disney later embraced.
As in a geological process of sedimentation and development, found in both natural and cultural realms, “If we look at narratives ranging from the Homeric fables to South American legends, we see that archetypal symbols such as life, death, the journey, the encounter and exile are often repeated,” Sarmiento says. “Part of my artistic exercise is to recontextualize these archetypal and universal symbols in an era of anachronisms.” Although we have information from every time and geography at our fingertips, humans often lack the capacity to recognize historical coincidences or similarities in sociopolitical processes.
He aims to demonstrate that while authors and languages vary across history, the story of humanity is the sum of a few core metaphors, in a continuous cycling of archetypal tropes. “This process is an exercise I have only been able to refine through reading and building visual archives,” Sarmiento says. Repetition plays a crucial role in his gestures, whether in clay or drawing. “As Hans-Georg Gadamer noted in The Relevance of the Beautiful, we tend to repeat what brings us pleasure,” he reflects. “In many cases, this repetition creates complex languages that lead us toward new interpretations and developments.”
Sarmiento’s process involves a tense yet generative exchange between intuition and control; he embraces the unexpected results that emerge from the interaction between energetic and psychic presence and the unpredictable reactions of clay and glaze. Despite the presence of figures or engravings, his narratives—which cover the entire surface as in a horror vacui without any precise order—form a kind of flow of thought-forms that defy any linguistic or visual codification. Like Surrealist automatic writing, these visual mythologies are the result of an intuitive reconnection with the language of a shared subconscious, to which the artist reconnects through his practice, finding new forms for the invisible. By bypassing rational control, the result is an epiphanic image—a strange revelation of forms carved and crystallized on the surface of the clay.
“Although I am self-taught with only brief experiences in guided workshops, the driving force behind my work is purely intuitive,” Sarmiento explains. “Still, the symbols and figures that emerge are resources drawn from years of researching oral histories, essays, and fantastical stories, driven by an intention to communicate with people from all walks of life.”
At one point, Sarmiento shares how, feeling a spontaneous connection with Jung and his thinking, he applied some years ago to a post-academic program in Switzerland. “My goal was to further my artistic research, develop a broader vision of the symbols and archetypal figures in my work, visit Carl Jung’s house, and access the literature and resources offered by the program,” he says. Yet the jury’s response was that there was no reason he needed to visit that specific location, stating that any information I required about Jung could be found on the internet. “My practice was ultimately not considered part of a contemporary discourse,” he points out, noting how one of the greatest challenges for artists from the Caribbean and South America is finding spaces where their artistic languages are appreciated through horizontal dialogue—not as exotic elements meant to fill a program’s minority quota.
Sarmiento’s work is a message of universality, celebrating and protecting the cross-cultural patrimony of stories and myths that might still guide humans toward a better notion of the future. He offers something beyond the Western paradigm of knowledge—ancestral and primordial—that has been suppressed or mostly forgotten but still resonates in the subconscious as something understood by the entirety of humanity.
His symbolic language reminds us how much we share across cultures, and how this universal ancestral heritage can help guide us into the future. “Never before have we lived in an age with more imaginary borders,” Sarmiento concludes. It is art such as his that can help us see beyond them. Never before, he adds, has humanity seemed so fragile, unable to generate collective solutions. “Through my artwork, I am seeking to create classics and objects capable of holding solutions or information for future generations.”