Daniel Pontoreau belongs to a generation of artists born in the aftermath of the Second World War for whom the artistic possibilities of ceramics instantaneously proved apparent. As a young artist, he was confronted, on the one hand, with the prevalence of figurative ceramic sculpture which spread throughout Europe in the post-war period, and, on the other, with the golden age of art pottery and its prevailing ideology. Yet, at the end of the “Glorious Thirties”, Daniel Pontoreau did not show a veritable interest in this culture of ceramics, which was already well entrenched in most European countries. Indeed, the teenager was fond of painting before taking up sculpture. His influences include some sculptors who are concerned with another reality of the clay, one that is more intangible and environmental. He was especially drawn to the work of American John Mason (1927) and Frenchman Jean Amado (1922-1995). With its ‘Attitudes (that) Become Forms’1, the new English sculpture movement left its mark on him, and he soon became fascinated with the relationship to the landscape in the architecture of such contemporaries as Frank Gehry (1929), Tadao Ando (1941), and Marc Barani (1957).