Pasquer is the final piece of the puzzle. Impossible to overshadow, Pasquer is the dreamy foil to her peers’ physicality. Like Astoul a native of La Borne, Pasquer frees herself of the regional pedagogy by transforming the earthy surface of the traditional stoneware smooth with either smoke or slip. Pasquer decorates her shiny, irregular stones; unlike Astoul’s etchings, Pasquer’s marks are almost figurative. Her tiny incisions form constellations across the sleek surfaces. Celestial rather than functional, Pasquer’s work acts as a vehicle for the artist’s lofty contemplations. Take for example one of her “Polyhèdres”—her jewel-like interpretations of the five Platonic solids. While her introduction to Drut by Pierre-Marie Giraud was serendipitous, Pasquer’s effortlessness is not. Her process relies upon her mastery and willingness to experiment just like Astoul and Bareff.
As a trilogy, Astoul, Bareff, and Pasquer complement one another, their stories intermingling; the show reads like an epic told in three parts with each individual chapter revealing yet another instance of ingenuity. Transcending the boundaries between art and craft, the display makes a compelling argument for why they all deserve a place in the contemporary canon.