Whether rendered in a single, spontaneous line or sculpted into bold, dynamic forms, his depictions demonstrate both a sensitivity to nature and an instinct for reinvention. The exhibition features a number of unique and editioned pieces that showcase Picasso’s dynamic approach to clay. His ceramic practice flourished in the late 1940s and 1950s at the Madoura pottery studio in Vallauris, France, and was particularly rich with animal motifs. Among the highlights of the exhibition is Canard pique-fleurs (1951), a striking fusion of animal and human imagery. Shaped to suggest the silhouette of a duck, this vessel is brought to life with an unexpected human element—the face and hands of a woman, inspired by his partner at the time, Françoise Gilot. Employing a combination of black slip and sgraffito, Picasso animated the form with flowing lines that depict the waves of her hair and the delicate features of her resting face. The vessel also incorporates six pierced holes toward its back, hinting at its intended function as a flower vase. This works exemplifies Picasso’s ability to animate his ceramic surfaces with the same dynamism found in his use of pencil and oil, the vase captures the soulful duck through expressive yet minimal of line.