Ann Linnemann studio gallery

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A COLLECTOR'S HOME
Exhibition 1 – 23 DECEMBER 2012

Exhibition full of ceramic pieces - ceramics lovers & collectors dream.

The Gallery shows a 'living room' filled with special original pieces and sharply focuses on the ceramic collectables describing people, presence, art and love of material, craftsmanship, aesthetics, social and political concepts in ceramic art of our time.

How do you live in a home full of a passionate ceramic collection?
- Lifestyle TV-programs/magazines center on collectors, collections, beautiful homes, interior, living design, collectors market and purchases...

Ceramics are traditionally evaluated for functional values and valued as art objects. - Functional design, craftsmanship or artistic value?
All together this also just shows a desire for life and multiple ways of telling the stories, we do need to see and remember every day.

The exhibition is also about the use of things – finding room for original works on all the shelves and walls – and a table set for coffee/tea party, breakfast, dinner, lunch - in play with untraditional objects.

The exhibition offers inspiration for Christmas gifts, renewal of the home, additional pieces for the private collection and the joy of seeing a fine international selection of contemporary original ceramic art.
There are no limitations, but always room for a lifestyle with it all – full of delight, mind and beauty.

Things for the tables, walls, shelves – all rooms in the house for living, dining, kitchen...
Special pieces that can be bought for a few or more money by the passionate collector and by those, who simply are in love with beautiful unusual objects.

A COLLECTORS HOME will change during December..
SEE the Gallery Collection & Shop - CLICK
Artists: DENMARK - Anne Fløcke - Bente Hansen - Bente Skjøttgaard - Bodil Manz - Charlotte Thorup - Christina Schou Christensen - Esben Klemann - Extrudox A/S Steen Ipsen/Anne Tophøj - Gerd Hjort Petersen - Hans Munck Andersen - Hans Vangsø - Heidi Henze - Helle Hove - Iben Kielberg - Jakob Stig Isaksen - Karen Bennicke - Karen Harsbo – Kim Holm - Kirsten Christensen - Lis Ehrenreich - Lisbeth Holst-Jensen - Lone Skov Madsen - Louise Birch - Malene Müllertz - Marianne Krumbach - Marianne Nielsen - Martin Bodilsen Kahldahl - Mette Marie Ørsted - Mikael Jackson - Morten Løbner - Ole Jensen - Sandra Davolio - Sten Lykke Madsen - Turi Heisselberg Pedersen - Ann Linnemann .. USA - Akio Takamori - Kurt Weiser - Richard Shaw - Lesley Baker .. ENGLAND - Paul Scott - Margaret O'Rorke - Neil Brownsword - Charlotte Hodes - Stephen Dixon .. NORWAY - Elisa Helland-Hansen .. AUSTRALIA - Kirsten Coelho - Prue Venables - Stephen Bowers...

Opening hours in December: Tuesday - Saturday at 11.00-18.00 (11am-6pm)
(Closed December 24 - January 22 2013)

A COLLECTORS HOME – SELECTED PIECES AND ARTISTS

Bodil Manz (DK) is internationally acknowledged for her thin transparent porcelain cylinders with graphic transfers. The pieces were especially selected for the exhibition FRAGILE in June 2012 – One piece has an unusual organic form in contrast to the strict graphic lines at the cylinder form, that Bodil is mostly known for.

Bente Hansen is one of Denmark's best known ceramic artists.
She has in her long career been especially active and engaged in Danish ceramics and design. The pieces in the gallery are from 2012 with experimental use of layers of transfers on oval vessels and geometric forms. They are colourful and kaleidoscopic with memories of Bauhaus, Avant-garde from Russia and much more.

Esben Klemann (DK) is educated at the Royal Danish Academy of Art in Copenhagen. He is known for his remarkable sculptural and architectonic pieces, commission projects in Denmark and abroad. He works freely with architectural pieces for public space and exhibition. Always challenged by the characteristic qualities of the material and a desire to test limits of ability.
Pieces for the wall and horizontal.

Paul Scott (UK) www.cumbrianblues.com is an artist best known for his research into ceramics and print. His practice is diverse, so as well as making individual artworks, installations and artefacts for exhibition, he also works to commission, writes, teaches and curates. In 2010 Paul was awarded a Doctorate by Manchester Metropolitan University for his MIRIAD funded research project into printed landscape patterns on tableware Ceramics Landscape Remediation and Confection. Paul Scott creates individual pieces that are exacting and critical, blurring the boundaries between fine art and design.
A serving plate 'A Willow for Ai Weiwei'...

Akio Takamori (USA/Japan) is famous for his figurative works and masterly drawing on ceramic form. These pieces lustfully take a starting point in race, gender and togetherness. He often uses the vase, the container as a basic form on which the figure drawing freely moves outside and inside the form in a sensitive brush stroke. is famous for his figurative works and masterly drawing on ceramic form. Akio tells about eroticism and love in ways that carry the mind into secret places and hidden corners, revealed around and inside the forms.

Stephen Dixon (UK) www.artdes.mmu.ac.uk/p/sd is head of craft research at MIRIAD (Manchester Institute for Research and Innovation in Art and Design) and well known for his research into ceramic print processes as well as his political works.
'Janus Head' is a large, composite head, based on the two-faced Roman God, a metaphor of the V&A ceramic collections. 'Inventory' a series of digitally printed porcelain plates combines drawings from the s V&A culpture collections with original archive documents relating to the collections.

Richard Shaw (USA) www.richardshawart.com is based in Berkley California and acknowledged for his pioneering, surreal, trump l'oeil sculptural forms. He has been a significant figure in American ceramics for over forty years and has an international reputation. His subjects are humoristic, and the pieces surprise the viewer with their refined trustworthy replication of real life.
Letters to Alice - Willow ware with Pin Cushion

Charlotte Hodes (UK) vwww.charlottehodes.com is Professor in Fine Art at London College of Fashion, University of the Arts London. She has worked in a variety different media, including paper, textiles and ceramics. She made a significant body of work in collaboration with the Spode factory before its closure and is working with Paul Scott on new research into the Spode Archive. The dishes reference to the historical archive of copper engraved sheet and chintz transfers.

Lesley Baker (USA) www.lesleybaker.com is Assistant Professor of Ceramics at Herron School of Art and Design IUPUI, Indianapolis. She graduated from Rhode Island School of Design. Her work is about creating pieces with a level of subtle social statement and much like how we are presented information through mass media, the true message is not always obvious. Wall plate with printed motives.

Prue Venables (AU) makes the shift to porcelain the natural step for anyone looking for hardness and ringing clarity. Her objects are confidently utilitarian, with deliberate but understated echoes of the purposeful crispness and functionality. She is internationally recognized, lives and works in Australia.
Hand-thrown bowl with handles, black, mat glaze.

Stephen Bowers is an acknowledged Australian artist. His ceramic pieces may reflect ideas about recollection and persistence in the form of remnants and shards; and be about how sections of memory survive; and utilise borders, patterns, overlaps, edges and shadows. He regularly retrieves and re-positions images, representing ‘the familiar’, often sourcing ‘clichéd’ images (i.e. blue and white, willow pattern, wallpapers, natural history illustrations, etc.) within a personal contemporary context, often with a surreal, whimsical, humorous, sceptical or satirical subtext.

Paul Scott & Ann Linnemann Landscape Blue The printed lustred fine porcelain cups are hand thrown and glazed by Ann in her studio in Copenhagen, Denmark. Paul creates the graphic then screen-prints in-glaze ceramic decals in his studio in Blencogo, Cumbria, England. They are interested in the way the hand made and the industrial can meld to create objects of use and beauty, but although working with thrown form and print they are not interested in 'mass production'. Only a very limited number of the objects are being created.

Marianne Nielsen (DK) www.mariannenielsen.com occupies an important position in Danish contemporary ceramic art. She is interested in the roles of nature in our time. It may be called a poetic or nerdy way, when she definite render natural subjects: mountains, feathers, leaves, flowers and plants..
Her pieces, refined with a delicate humoristic and aesthetic tone, describe essential beauty ideals and may hold secrets, private memories and undefined questions on reality, truth and our self. In 2012 she was awarded the prestigious 3-years award by the Danish National Arts Foundation.

Ann Linnemann (DK) IMAGE LINK - 'Body Landscape' is inspired by memories of landscapes in and out of Denmark. The landscape and 'painting' theme, decorative and storytelling, play with illusion and form ideas. The horizon line tricks the eye's concept of near and far away in the 2D perspective image and the 3D-organic or round vessel form. The tales of nature are combined with 'trompe l'oeil', tricks of mind on reality, truth, dream or illusion. The pieces are one-of painted with ceramic colour and glaze on hand-thrown forms, round or altered.

Christina Schou Christensen is a Danish newly graduated ceramic artist, who won an art price and became known at her storming debute at the Danish Spring Art Exhibition, Charlottenborg Foundation 2012. She is one of the artists Danish collectors are showing an interest in. She exhibits remake of Royal Copenhagen plates and cups, where a glaze-mass is dripping and floating through holes in one form to the other – makes the viewer wonder.

See GALLERY SHOP - COLLECTABLES - LINK
(The program is still subject to change )

24 JANUARY – 23 FEBRUARY CENTRED - Kim Holm DK & Kirsten Coelho AU
Danish Kim Holm and Australian Kirsten Coelho exhibit new ceramic work.
Their backgrounds and ideas are not similar, and they work in different ways, but centre on making stunning variations, in a mutual love of the circular form.
Kim Holm's artistic strength is his ever renewing 're-invention' of the cylinder, the vessel is an individual piece every time he cuts into the surface, finds a decorative reference or glazes in several layers.
Kirsten Coelho's works spring off the Australian land and culture, telling her story in minimalistic lines on the glaze surface of hand-thrown symbolic utilitarian vessels.
www.kimholm.net - www.kirstencoelho.com

1 MARCH – 6 APRIL MASTERPIECES – miniature - 5-years anniversary of the Gallery
All previous exhibitors are invited to show their personal choice of a Masterpiece.
See the exhibition BEHOLD 2012 - LINK

11 APRIL – 8 MAY 3D PRINTED POTS - Jonathan Keep UK
www.keep-art.co.uk

16 MAY – 8 JUNE TEMPERAMENTS - Søren Thygesen DK
www.sorenthygesen.com

13 JUNE – 27 JULY ORIGIN - Gunhild Aaberg DK
Gunhild Aaberg

1 – 31 AUGUST ENTROPIC TOPOLOGY - Karen Harsbo DK
See the previous exhibition by Karen Harsbo HAPPENSTANCE - LINK

5 – 28 SEPTEMBER ARCHITEKTONES - Mikael Jackson DK
See the previous exhibitions by Mikael Jackson - LINK

1 – 26 OCTOBER INTENSITY - Hans Munck Andersen & Lea Mi Engholm DK
www.gerdoghans.dk - Lea Mi Engholm - www.danishcrafts.dk/PROFILES/ Lea Mi Engholm

31 OCTOBER – 23 NOVEMBER LAND MARKS - Mette-Marie Ørsted & Rene Olsen DK
www.reneolsen.dk - www.danishcrafts.dk/ PROFILES/ Mette Marie Ørsted

1 – 23 DECEMBER FORM LANGUAGE - Invitered/juried

PERMANENT EXHIBITION - ARTISTS - See GALLERY SHOP - COLLECTABLES
Anne Fløcke - Bente Hansen - Bente Skjøttgaard - Bodil Manz - Charlotte Thorup - Christina Schou Christensen - Esben Klemann - Extrudox A/S Steen Ipsen/Anne Tophøj - Gerd Hjort Petersen - Hans Munck Andersen - Hans Vangsø - Heidi Henze - Helle Hove - Iben Kielberg - Jakob Stig Isaksen - Karen Bennicke - Karen Harsbo – Kim Holm - Kirsten Christensen - Lis Ehrenreich - Lisbeth Holst-Jensen - Lone Skov Madsen - Louise Birch - Malene Müllertz - Marianne Krumbach - Marianne Nielsen - Martin Bodilsen Kahldahl - Mette Marie Ørsted - Mikael Jackson - Morten Løbner - Ole Jensen - Sandra Davolio - Sten Lykke Madsen - Turi Heisselberg Pedersen - Ann Linnemann... USA - Akio Takamori - Kurt Weiser - Richard Shaw - Lesley Baker - ENGLAND - Paul Scott - Margaret O'Rorke - Neil Brownsword - Charlotte Hodes - Stephen Dixon – NORGE - Elisa Helland-Hansen – AUSTRALIEN - Kirsten Coelho - Prue Venables - Stephen Bowers...

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CENTRED - Kim Holm DK & Kirsten Coelho AU
Exhibition 24 January – 23 February 2013

Artist talk/meet Kirsten Coelho Wednesday February 20th. 17-19.00

In love with the circular form.

Danish Kim Holm and Australian Kirsten Coelho exhibit new ceramic work.
Their backgrounds and ideas are not similar, and they work in different ways, but centre on making stunning variations, in a mutual love of the circular form.
Kim Holm's artistic strength is his ever renewing 're-invention' of the cylinder, the vessel is an individual piece every time he cuts into the surface, finds a decorative reference or glazes in several layers.
Kirsten Coelho's works spring off the Australian land and culture, telling her story in minimalistic lines on the glaze surface of hand-thrown symbolic utilitarian vessels.
www.kimholm.net - www.kirstencoelho.com

Kim Holm is insistent, 'stubborn' in a fine curiously searching way..

"After more than 35 years working with clay, Kim Holm still receives fine respect and curiosity from the viewer.
This exhibition offers a possibility to admire his new pieces.
He is said to be stubborn, in the good persistent and inquisitive manner, - without compromises and easy solutions. Every form, every inch of the surface appeares in a constant dialogue between ceramist and material. The form, the cylinder, the round or rounded jar, is a ceramic classic, that here wakes both recognition and surprise. With simple interventions, Kim Holm varies his theme, and no two jars are the same. Furthermore comes the glaze, that sometimes smoothly follows the form, other times runs, drips or crackles, and finally all the details combine in a clear symbiosis." www.kimholm.net

Kirsten Coelho finds beauty in decay, for instance in rusty iron.

”In an eternal balance and tranquillity, self confident in the space that they create, Coelho's works carry the stigma of immortality and transformation. Some pieces show opaque, matt-white glazed forms with vibrant thin lines of iron-oxide. Others have cool celadon glazes on the sharp edges or planes, and the transition to the iron-rich tenmuko glaze melts in a delicate horizontal line, reflecting a landscape or a misty skyline.”
www.kirstencoelho.com
Kirsten Coelho works in porcelain, makes reduction fired works that attempt to fuse subtle abstracted glaze surfaces with simple reductive forms.
All pieces are wheel thrown in porcelain and gas reduction fired to 1280 Celsius.

KIM HOLM
”Several years ago when I first started working with the cylindrical form, I guess I had no idea how much this simple form would capture my imagination. In spite of its obvious simplicity, it holds countless possibilities of variation, in height as well as in width, surface texture, glazing and finally the firing. My cylinders are wheel-thrown and I work with small as well as large sizes. Some cylinders I choose to leave without decoration, others I decorate by cutting or pressing the form or just the surface, on the outside or the inside or both while the clay is still wet.
I am very preoccupied with the correlation between the inside and the outside of the form. Therefore I work to create coherence between form, texture and colour in such a way that the outside and the inside of the form accentuate each other, so to speak.
The cylinders must be clear examples of what one can do with clay and glaze and they should each have personality and character. Consequently many of my works have gone through several layers of glazing and numerous firings, before I obtain the texture and depth of the glaze, which I desire..”

KIRSTEN COELHO
“Recently my ceramics practice has been focused on the exploration and reinterpretation of nineteenth and early twentieth century domestic objects produced in Australia. Through an investigation of these objects, I am searching for new visual meanings so as to view social histories and material culture through the context of the contemporary object.
Other reference points for much of my work are the unlikely abstractions found in the weathering of iron in the urban landscape... the rust around a car window and the rivulets of iron on factory chimneys.
I am also exploring the convergence of object and surface – the merging of the formal and the abstract. This is pursued through a drive to refine and interpret form and the manipulation of high-fired glazes on the ceramic surface. Glaze can offer up a surface rich in visual metaphor and through the layering of glazes I attempt to give greater sense of visual depth and tone.
Porcelain poses many difficulties and challenges to the user yet yields seductive properties – translucency, malleability, density and the ability to give great visual underpinning  to subtle glaze colours. These characteristic qualities make it an extremely compelling material and  I attempt to understand and realise some of its elusive possibilities..”

Kirsten Coelho is born in Denmark 1966, but has lived most of her life in Australia.
She trained in Adelaide, South Australia before moving to the UK in the early 1990’s where she worked for a number of years in a London Studio. While in London Kirsten’s style developed influenced by the British Studio pottery tradition which has some of its origins in the theories of the potter Bernard Leach.
More recently her work has been influenced by nineteenth and early twentieth century enamel wares and the abstracted surface possibilities these objects can possess when they begin to age.
Since returning to Australia in 1998, Kirsten Coelho has been a studio tenant at the JamFactory Centre for Contemporary Craft and Design, completed a Master of Visual Art and currently lectures in Ceramics at the University of South Australia. Coelho now works from a studio at her home in Ethelton, South Australia.

Kirsten Coelho graduated from the University of South Australia in 1988 with a Bachelor of Visual Arts (Ceramics) and then continued her studies to complete a Master of Visual Art and Design in 2004.
The artist exhibits regularly in Australia. Her works have been selected for exhibitions in the UK through Adrian Sassoon, London. Other group exhibitions include the Victoria and Albert Museum COLLECT and the Scottish Gallery, UK, as well as the Ann Linnemann Studio Gallery, Denmark. In the USA, her work has been shown at Matin Gallery, Los Angeles.
In 2011 Coelho, in collaboration  Khai Liew and selected Australian artists, exhibited at the London Design Museum, UK. The artist has had recent solo exhibitions at Helen Gory Galerie, Melbourne and BMG Art, Adelaide. State and national galleries in Australia and the Boymans Van Beuningen Stichting Museum, Netherlands hold pieces of her work. In 2007, Coelho was awarded the Australia Council for the Arts London Studio Residency and is also a recipient of the New Work Development Awards, Australia.
Kirsten Coelho is represented by Helen Gory Galerie, Melbourne. Overseas her work is available through Adrian Sassoon in London, Matin Gallery, Los Angeles, USA and the Ann Linnemann studio gallery, Denmark.

Kim Holm lives and works in Jutland, Denmark. He exhibits internationally.
In 2013, Kim Holm will exhibit at the Shiinokigeihinkan gallery A & B, Kanasawa, Japan.
Selected Solo exhibitions: Galleri Secher & Scott, Copenhagen 2009, Galleri Jytte Møller DK 2009/06, Museum of International Ceramic Art - Grimmerhus DK 2007, Lasaretsgalleriet Sweden 2006, Galleri Kaolin Stockholm 2005, Galleri Nørby, Copenhagen 2005.
Selected exhibitions: Kamakura Old Pottery Museum, Japan - Galleri Omotesando, Japan - Collect, Saatchi Gallery, London - Danmarks Keramikmuseum, Grimmerhus DK - Gudhjem Museum - Design Museum Denmark.
Grants and Awards: Ole Haslunds Kunstnerfond, Statens Kunstfond, Kunsthåndværkerprisen Bronze & Silver Award, Århus Artist Stipend, San Cataldo artist-in-residence, C.L. Davids legat, Denmark National Banks Foundation.
Represented in public collections: Design Museum Denmark, Trapholt Art Museum, Ny Carlsbergfondet, Museum of International Ceramic Art - Grimmerhus DK, Thiemann Sammlung, Hamburg, William Hull Collection USA, - Statens Kunstråd, Rackstad Museet, Värmlands Museum, Engsö Slot Sweden, Koster & Quist collection, Holland..
Member of the Danish artists association - BKF

Thanks to The National Bank Anniversary Foundation and The Danish Crafts Foundation!

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MASTERPIECES - miniature
1 March - 6 April 2013
5th anniversary of the gallery

'MASTERPIECES - miniature' focuses on small works .. with a particular value.
The gallery celebrates its 5th anniversary with an exhibition to which all past and this year's future exhibitors have been invited to show their masterpiece - one of the artist's own chosen miniature work.

It began with a ceramic studio in 1998 and started as a gallery in 2008 with the desire to show colleagues' works..
A small flock each year has grown bigger and stronger - stubbornly idealistic on its way through the economic crisis with successful sales to private individuals, collectors, art associations, funds, art museums and the Danish National Arts Foundation.

The personally selected works show the wide range of approaches, techniques, themes and artists who are seen in the gallery since its opening in March 2008.

Most works are ceramic, but also glass and photography has found its way to interact with ceramics.
From thrown pots and handmade vessels to sculpture and installation.

The gallery is small, but there are no narrow minds or restive definitions - with a high ceiling when it comes to showing quality and originality.

All artists aspire to create unique works, Masterpieces; - and here the Masters exhibit the miniature piece, that they themselves prefer.

Some have chosen a special older work and others show new expressions, ideas and experiments they see as their masterpiece in miniature ...
Anything goes - as long as it is a personally chosen MASTERPIECE - less than 15 cm.

By virtue of the exhibitors' own choice of favourites, the exhibition talks about individuality, difference and diversity, - providing an image of our time.

The gallery intends in this way to give thanks for the 5 active years with thousands of visitors to over 50 different exhibitions of works by more than 75 Danish and International artists ... from new graduates to world renowned artists. The exhibition includes about 60 different 'masterpieces - miniature'.

Thank you to everyone who has exhibited in the gallery since 2008, this year's exhibitors, customers and collectors, visitors and friends of the gallery. Also a special thanks for financial support for exhibitions in 2013 to the Denmark's National Bank's Anniversary Foundation of 1968 and the Danish Crafts, the Ole Haslund Artist Grant in 2010, and grateful thanks to the Danish National Arts Foundation, The Danish Museum of Decorative Arts and Design (now: Design Museum Denmark), the Detlefs OJD Fund and all the art associations for their purchases of ceramic pieces!

It is my hope that everyone will join in the celebration of the first 5 years of the gallery at the opening reception for MASTERPIECES on Friday 1st of March at 16 - 19.00.

EXHIBITORS 2008-2013:
DANISH: Ane-Katrine von Bülow, Anne Fløche, Anne Tophøj, Annemette Kissow, Ann Linnemann, Asger Kristensen, Barbro Åberg, Beate Andersen, Bente Hansen, Bente Skjøttgaard, Better Lübbert, Birgitte Ran Bennike Mayall, Bodil Manz, Charlotte Thorup, Christian Bruun, Christina Schou Christensen, Esben Klemann, Extrudox A/S, Gerd Hiort Petersen, Gunhild Aaberg, Gurli Elbækgaard, Hans & Birgitte Börjeson, Hans Munck Andersen, Hans Vangsø, Heidi Hentze, Helle Hove, Henriette Duckert, Iben Kielberg, Jakob Stig Isaksen, Jane Reumert, Jeanette Hiiri, Jeanette List Amstrup, Jesper Palm, Karen Harsbo, Karen Bennicke, Karin Michelsen, Karina Skibby, Kim Holm, Kirsten Christensen, Kirsten Høholt, Kristine Tillge Lund, Lea Mi Engholm, Lis Biggas, Lis Ehrenreich, Lisbeth Holst-Jensen, Lone Skov Madsen, Louise Birch, Malene Müllertz, Malene Møller-Hansen, Marianne Krumbach, Marianne Nielsen, Morten Løbner Espersen, Martin Bodilsen Kaldahl, Mette Marie Ørsted, Mikael Jackson, Ninna Gøtzsche, Ole Akhøj, Ole Jensen, Pipaluk Lake, Peder Rasmussen, Rene Olsen; Sten Lykke Madsen, Sandra Davolio, Sia Mai, Steen Ipsen, Søren Thygesen, Turi Heisselberg Pedersen, Vibeke Fonnesberg Schmidt, Vicki Hansen...

INTERNATIONAL: Kirsten Coelho, Prue Venable, Stephen Bowers - AU. - Elisa Helland-Hansen - N. - Kurt Weiser, Akio Takamori, Richard Shaw, Megumi Naitoh, Lesley Baker - USA. - Charlotte Hodes, Margaret O'Rorke, Neil Brownsword, Paul Scott, Stephen Dixon - UK...
Most have pieces in the gallery's permanent collection, others have shown a solo exhibition, participated in a thematic exhibition or will exhibit during 2013.
The exhibition represents approximately 60 different artists.

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3D PRINTED POTS - Jonathan Keep UK

Exhibition 11 April – 8 Maj 2013
Opening reception Thursday 11 april at 16-19.00
Artist talk: Jonathan Keep at 17.00-17.30

Technology & ceramics – decoding transformation of nature phenomena

Jonathan Keep eksperiments with 3-dimensional print in ceramic materials.
Idealistic and artistically free, Keep experiments with digital transformations of various codes appearing from sounds and objects of nature.
The pieces reference our time of constant digital presence.

Poetic ceramic objects created by unusual codes of natural phenomena in a sophisticated combination of technological and ceramic knowledge. www.youtube.com/user/jkpottery
The pieces combine traditional function with disturbing feelings of secrecy.
The exhibition of digital ceramics inform of the new possibilities for contemporary ceramic art in dialogue with the new technology of ceramic 3D-printing.
www.keep-art.co.uk

JONATHAN KEEP - Digital Pots

Jonathan Keep has long used computer software to develop new ceramic forms. With an interest in the hidden numerical code that underpins all nature he has developed a working process whereby the shapes of these pots are written in computer code.
This digital information is passed to a studio based DIY 3D printer that he has adapted to print in clay.
Layer by layer the pots are printed out – a sort of mechanical pottery coil building. After printing, the ceramic is fired and glazed in the normal way.

"From the elemental forces of earth, fire and water pottery has traditionally drawn on nature for inspiration.
In using computer code to create this work I aim to add a further layer to include the elemental, natural-mathematical patterns and structures that underlie all form.
The appreciation of this work illustrates just how much we are connected at a very deep level to the natural world."

3D PRINTED POTS GO ON SHOW...
Jonathan Keep exhibits several series of digital 3D-printed ceramic pieces with various starting points. He has developed a working method where the three dimensional mathematical structure of the forms of his pots is first written in java computer code. This digital information he then prints out into physical objects using a studio based DIY 3D printer that he has adapted to print in clay (porcelain). The printed pots are dried, glazed and fired in a traditional manner.

SOUND SURFACES - Created in computer code, a pixel is set to spiral in virtual space and as it grows into the pot shape a three dimensional computer mesh is created. The surface of the mesh is progressively textured by adding the data from digital sound recording. The surface, from base to rim becomes a time representation of the tone and rhythm of the music named in the title of the pot. The digital file is then 3D printed in clay. After printing, the ceramic is fired and glaze in the normal way. - MUSIC: Benjamin Britten, 4 Sea Interludes fra Peter Grimes, Django Bates, You Live and Learn…

RANDOM GROWTH - This series of work characterizes my interest in the code underlying organic nature. As with the making of stalactites or ant hills, these forms have an underling structure or logic but as the computer code that generates these forms has a built in variation function a different form is created each time the code is run. I want the viewer to bring their own subject interpretation to the form, trying to make sense of the shapes while allowing for a personal and imaginative reading of the object.

ICEBERGS – These works are about the beauty to be found in apparently random natural form. The algorithm used to generate these forms has an inbuilt randomness set within natural parameters as with the formation of icebergs. The DIY studio based 3D printing technique offers a timeless sense of layering while the porcelain echoes the translucency of ice.

TREES - This is an on going project based on ideas of the relentless growth of natural forms. As ceramics objects now frozen in time this group represents mans desire to control nature - how trees are cut but continue to grow.

SEEDS MORFOLOGI - This collection is about the evolution and morphology of form. My working method lends itself to slight alterations in the computer code to generate related and ever evolving shapes.
Being able to print or build these unique individual forms directly from the computer with my 3D-printer represents the strength of this technology and fulfils my desire to explore the possibilities of ceramic form.

JONATHAN KEEP - ABOUT THE EXHIBITION:
”This exhibition is based around ceramic 3D printing. While all work will be for sale, it is also an opportunity to introduce and educate the public about computer aided design and making in ceramic with 3-dimensional printing technology.
Within ceramic 3D-printing there are two developing technologies, one using layered powder clay bonded with an inkjet type print head and the second a layered extrusion of wet clay almost like mechanical coil building. I use the latter extrusion type printer that is a DIY kit that I have adapted to print with clay.
I tend to work in series based around an idea that often comes out of the process used.
Interest in the hidden numerical code that underpins all nature I have developed a working process whereby the shapes of my pots are written, or described in computer code using the java based Processing program.
The printing process is then very hands on as I offer support and assisted drying as the forms are created.
After printing the ceramic is fired and glaze in the normal way. Currently I am using porcelain clay finished in a palate of reduction glazes that are fired in a gas kiln."

The exhibition holds 30-40 pieces from the Icebergs series, the Random Growth series, the Sound Surface series, the Morphology series and other individual forms as illustrated on my website – see http://www.keep-art.co.uk/digital.html
- This page also has a brief statement about the digital pots.

For further information on recent developments - see studio journal: http://www.keep-art.co.uk/journal_1.html

Jonathan Keep is educated at the Royal College of Art in London, and in his 30 years carriere as a ceramic artist and potter he has attained a reputation for creating innovative og constant re-newing projects from his studio in Suffolk.
He was born and grew up in South Africa, obtaining my BA (Hons) Fine Art degree from the University of Natal in 1979. After working in a number of studios and a period of teaching he moved to England in 1986 and settled in Suffolk where he continue to live and have a studio at his home. His freethinking approach to pottery has had him investigating the subject of pots from a number of viewpoints. In multimedia and virtual reality when commissioned to produce a CD-ROM in the Insite Arts program, to a Year of The Artist residency where he worked in collaboration with patients at two doctors surgeries using the pot as a vehicle for patients to visualise their medical condition.
He received a MA from the Royal College of Art in 2002, where his postgraduate show was awarded overall prize-winner of the Lattice Group Awards. He was subsequently awarded a Woo Foundation Graduate Arts Bursary. His work has been exhibited widely and has been seen recently at Collect in the Victoria and Albert Museum, Network Europe at the Museum of International Ceramic Art, Denmark, - at Sotheby's in New York, the Carlin gallery, Paris, Puls gallery, Brussels and Sarah Myerscough Fine Art, London.
In an artists advisory role He was involved in the Working Party for the Center for the Visual Arts, Bury St. Edmunds and on the steering committee of the Visual Arts Marketing & Business Development Scheme in Suffolk. He has sat on the Advisory Panel of the Hub Arts Center in North Kesteven and assisted in an advisory capacity to Platform 5, a professional development program for emerging artist in the eastern region.

Thanks to the Danish National Bank Anniversary Foundation and Danish Crafts!

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TEMPERAMENTS
Søren Thygesen DK
Exhibition 16 May - 8 June 2013

Does the iron-colour of the clay come from the leaves - or the opposite..?

Søren Thygesen constructs space-specific ceramic pieces that grow as columns, spread in the room, revolve around nature, architecture, sculpture, installation..

The works appear from the elements of nature, Danish clay and brick tradition.

The starting point is an ingenious cutting-machine and the clean cuts that suddenly turn out to enable the making of centimetre-thin leaves that seem heavier than their high upwardly rising sister-columns.
The combination of knowledge of materials, tools and technical ingenuity meets and merges in the artistic idea. www.sorenthygesen.com

Photos of the Sliding Land series - 'Glissement de Terrain':

Architecture, nature, clay - brick coloured leaves swirling from floor to ceiling..

SØREN THYGESEN:
The idea of the leaves appears from the observation that tile roofs have the colours of withered foliage.
Clay in the Danish underground is layers of red and blueish clay - ferrous earthenware.

Do the iron colours of the clay come from the leaves - or is it the other way around..
When leaves wither, the chlorophyll oxidises and iron compounds will be left.

The leaf forms, that I have extruded, come from the true leaves, which I in the processing have trimmed and simplified.

The clay is the natural clay from the Tommerup town and region on the Island of Funen.
It is run untreated through the machine, and the red and blue clay is mixed to varying degrees - randomly.

The leaves are produced at the Tommerup Ceramic Workshop and fired at the Strøjers Brick Factory in Assens, Funen.

- So come for a forest tour and enjoy the leaves doing weird things!

Studio thoughts – work progress
In my own studio and at Tommerup Factory I like the feeling of finding things - constantly searching for something I can use and refine.
The idea of the cutting-machine appears from the simple joy of the clean cut with a cutting wire.
Photos of previous work - prototypes for benches 1:1

At work we have the old cutting-machines for bricks and making vertical cuts in various formats.
It was in a short dialogue with Niels Lauesen, that I got the idea. Niels, my previous teacher at the Kolding Design School, had a course at Tommerup, - and we talked about the need for a similar device, where we unfixed could draw in clay.
After a few attempts - I ended up making the cuts using the throwing-wheel and found some easy moves with the technique.

The idea of the leaves comes from the process that wilting leaves undergo, similar to the process of clay during firing, - a colour ranging from light yellow to dark brown tile-colour.
A wall to wall covering of leaves swirling up in a movement towards the ceiling.

SØREN THYGESEN - www.sorenthygesen.com
Graduated from Kolding Design School, ceramics 1987
Own studio since 1987 - Employed at the Kähler Pottery, Næstved 1996-2000 - Designer for Kähler 2007 -
Associated the Tommerup Ceramic Workshop since 2000 ...
LINK - Tommerup Ceramic Workshop

EXHIBITIONS
Morsø Arts 2009 - Nominated Politiken Talent Prize 2008 – Charlottenborg Spring Exhibition 2008, 05, 04, 03 – Danish Artists Autumn Exhibition 2006, 05 - Gallery Nørby 2005 – Arts of Fyn SAK 2004 - Danish Ceramics Triennial, Trapholt Art Museum 1994..
LINK - Charlottenborg Spring Exhibition – The Column

GRANTS AND AWARDS
Ole and Yelva Nimbs Award 2004 – Danish National Art Foundation Award 2001, 2000 - Award-nominated Danish Danish Ceramics Triennial, Trapholt Art Museum 1994 - Awarded by the Danish Arts Foundation, Gallery Nørby 1993 – Awarded exhibition Jutland Roots Aarhus 1990 - Ole Haslund Artist Award 1989 - Krøjers Award 1987..

Grateful thanks to the Danish National Bank Anniversary Foundation of 1968 for the generous support of this year's exhibition program!

CLICK photo = LARGE format + slide show

ORIGIN
Gunhild Aaberg DK
13 June - 27 July 2013
Photo: Ole Akhøj DK

Welcome to the opening reception on Thursday June 13th at 16 - 19.00
Artist Talk by Gunhild Aaberg at 17.00

From Coast to Coast..
Ceramic pieces inspired by the sea and harbour architecture.

Gunhild Aaberg is fascinated by the sea and the harbour as a recurring theme in her raw, powerful and often large sculptural forms that carry memories of ships, architecture and the vessel.
The piece's origin, the container and vessel volume with echoes of shoulder and torso, reminisces in her new work rather towards spherical carriers of relics. - Or do they hold the secrets of the future?

Gunhild Aaberg grew up in a seafaring family and sailed in Europe from port to port with her family's coaster, and has ever since been fascinated by the sea and harbour environments. www.gunhildaaberg.dk

Currently, Gunhild's work is particularly inspired by the harbour's industrial buildings, the often brutal and fascinating rough architectural bodies.

They are strong architectural pieces, which intimate proximity and personal history affect both the viewer and the space around them.

The ceramic pieces are hand-modelled and treated with impressing and incising tools. Hereafter the surface is painted with clay of different structural and tactile character.
Finally comes the influence of reduction firing in a gas-kiln.

Gunhild Aaberg is one of Denmark's renowned ceramic artists with exhibitions in Denmark and Internationally.
She graduated in 1964 from the Danish Academy Design School /School of Applied Arts in Copenhagen. The same year she founded together with Jane Reumert and Beate Andersen the Strandstraede Ceramics, where she continuously makes her ceramic works and commission projects.

Gunhild has worked as designer for Danish Design Ltd. and freelance for the Royal Danish Porcelain Factory. She has been an external examiner at the Danish Design School in Copenhagen and Kolding School of Design, as well as visiting lecturer at the Danish Design School and the Royal Danish Academy of Art.

Previous work
Photo: Ole Akhøj

Gunhild Aaberg has exhibited solo and participated in several exhibitions in Denmark and Internationally. (See C.V. below)
She is represented in the collections of Stockholm National Museum, Staatliche Gallery Moritzburg in Germany, Royal House of Norway, World Ceramics Museum in Korea, Stockholm National Museum, the National Art Gallery in Tirana, Albania, Palmer Museum of Art in Pennsylvania, The Danish House in Rome, The New Carlsberg Foundation, The Danish Arts Foundation and The Design Museum Denmark...

Gunhild Aaberg has received several grants and awards including The Danish Arts Foundation's 3-Year Scholarship and Lifelong Artist Award.

Photo: Sigge Aaberg DK

Gunhild Aaberg: “I was born and raised on a harbour into an old seafaring family. Sailing on my mother’s coaster, I have seen many different harbours in Europe. I have always been fascinated with harbours and the mysterious things one can find there; and by the harbours’ industrial buildings with their often brutal and fascinating architectural bodies.
I have a fondness for the marginalised areas that have not yet fallen prey to gentrification. They serve as inspiration for my ceramic works. These are hand-worked and subsequently treated with impressing and incising tools. The pieces are then treated with slips of varying tactility.
The final element is the touch of fire, with the ceramics being fired in a reduced atmosphere in a gas kiln at 1300 degrees Celsius.”

Grateful thanks to the Danish National Bank Anniversary Foundation of 1968 for the generous support of this year's exhibition program!

GUNHILD AABERG - CV

REPRESENTED IN COLLECTIONS
Palmer Museum of Art, Pennsylvania, USA • Staatliche Gallery Moritzburg, Halle, Germany • The Royal House of Norway • World Ceramic Museum, Icheon, Korea • National Museum, Stockholm, Sweden • National Art Gallery, Tirana, Albania • Ny Carlsberg Fondet, Copenhagen, Denmark • Det Danske Hus i Rom, Roma, Italy • National Arts Foundation, Denmark • Design Museum Denmark, Copenhagen • Röhska Konstslöjdmuseum, Göteborg, Sweden • Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway • Hässelby Slott, Stockholm, Sweden • Sammlung Dr. Hans Thiemann, Hamburg, Germany • Trapholt Art Musem, Kolding, Denmark • Museum für Kunst und Gewerbe, Hamburg, Germany • Grimmerhus Keramikmuseum, Denmark • Ellen og Knud Dahlhof Larsens Fond, Denmark • Hälsingborg Stadsmuseum, Hälsingborg, Sweden

SELECTED SOLO EXHIBITIONS
Ann Linnemann Studie Galleri, Copenhagen, Denmark, 2013 • Skagen Odde Naturcenter, Skagen, Denmark, 2012 • Flamenska Galleriet, Borås, Sweden, 2009 • Höganäs Museum, Höganäs, Sweden, 2006 • Galleri Nørby, Copenhagen, Denmark, 1999, 2005 • Carlin Galerie, Paris, France, 2004 • Galleri Pagter, Kolding, Denmark, 2000 • International Contemporary Ceramic Exhibition, Tirana, Albania, 2002 • Earth and Fire, Halle, Germany, 2001 • Nordisk Keramik Trienal, Stockholm, Sweden, 2000 • Seramik Sergile, Izmir, Turkey, 2000 • Det Danske Kulturinstitut, Athen, Greece, 1998 • Galleri Björnen, Stockholm, Sweden, 1998 • Galerie Handwerk, München, Germany, 1998 • Det Danske Kulturinstitut, East Wood, England, 1996 • Galerie Loes & Reiner, Denver, The Netherlands, 1993 • Rosenthal, Hamburg & Roma, Germany & Italy, 1984 • Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway, 1981 • Design Museum Denmark, Copenhagen, 1977

SELECTED GROUP EXHIBITIONS
Keramiske Veje, Bredgade Kunsthandel, Copenhagen, Denmark, 2013 • Puls Ceramics, Brussels, Belgium, 2010 • Keramiske Veje, Sophienholm & KunstCentret Silkeborg Bad, Denmark, 2009-2010 • Lacoste Gallery, Concord, USA, 2008 • Sofa Art Fair, New York & Chicago, USA, 2008 • De Nordiske Ambassader, Berlin, Germany, 2004 • Det Danske Hus, Paris, France, 2004 • From the Kilns of Denmark, Paris & Berlin, France & Germany, 2004 • Carlin Galerie, Paris, France, 2003 • Crocker Art Museum, California, USA, 2003 • From the Kilns of Denmark, travelling exhibition, New York, Fitchburg, Sacramento & Racine, USA, 2002-2003 • Keramik aus Dänemark, Galerie Handwerk, München, Germany, 1999 • Det Danske Institut, Athen, Greece, 1998 • Images of Denmark, Accra, Ghana, 1997 • From the Golden Age to the present Day, Edinburgh, Scotland, 1995 • Gallery Besson, London, England, 1995 • Scandinavian Festival of Art, Barbican Centre, London, England, 1992 • Céramique Danoise, Ministry of Foreign Affairs Travelling Exhibition, France, 1983 • Scandinavia Today, Cooper Hewitt, New York, USA, 1982 • Museum of Art, Pennsylvania, USA, 1981 • Museum Flehite, Amersfoort, the Netherlands, 1980 • Galerie am Graben, Wien, Austria, 1977 • Helsingborg Stadsmuseum, Helsingborg, Sweden, 1975 • Hässelby Slott, Stockholm, Sweden, 1975 • Exempla, München, Germany, 1974

SELECTED GRANTS AND AWARDS
The Life Long Artist Grant awarded by the Danish Ministry of Culture • The Danish Arts Foundation’s 3-year Grant • Chr. Grauballe`s Award • The Danish National Art Foundation • The Danish National Bank Anniversary Foundation • The Jork Foundation

CLICK photo = LARGE format + dia show ... MORE IMAGES WILL FOLLOW...

ENTROPIC TOPOLOGY - Karen Harsbo DK
Exhibition 1 – 31 August 2013

From the Gaolin mountain via the silk route to Europe and back to the East..
- About the materials and travels of the mind.

Karen Harsbo is intrigued by ceramic history, routes, roads, mapping, floor plan, buildings, construction, reflection, fractals, signal flags, mirage, intricate map of 'the mind', unorthodox mix of material and much more ..

This exhibition presents a very personal and special mapping of the material history.

Karen Harsbo works as an associate professor at the Royal Danish Academy of Art's ceramics Laboratory with the 'artists of the future'.
Karen graduated from the Danish School of Arts and Crafts (now the Art Academy's design school); but for several years she has had her main interest in the contemporary art world, specialized in ceramic materials, artistic and practical advice to the graduate students.
She has her own artistic practice, exhibitions and commission projects, as well as working as a curator in the middle of a very active and productive life.
In 2011 she curated (with A. Tovborg) the large international exhibition: THE MAGIC OF CLAY – Ceramics in Contemporary Art, at the Holtegaard Museum in Denmark.

Entropy = a measure of total disorder or randomness in a system.
Topology (Greek topos, 'place', and logos, 'study') = study of shapes and spaces.
- Quotes / Wikipedia.

KAREN HARSBO "A work stay in England at the Spode Factory, a traditional recently closed porcelain factory, has reopened my curiosity on the history of porcelain.
- How it was invented in China when processing kaolin from the Gaolin-Mountain.
- How it was laboriously transported via the Silk Route to Europe as a most precious treasure.
- How alchemists experimented to develop the formula, and it since has become a major industry in Europe, with exports to all over the world.
- And how the production once again returns to the East.
It is a story that generates multiple routes and maps; - and places are connected via camel routes through the desert or container routes over the Oceans.
They are the paths of human curiosity, and the knowledge of culture and traditions ever changing."

"I am interested in the people who have been part of those places - workers in the East and the West. Those who have made a mark on the great map and relayed their knowledge throughout history. - And those who no longer have their jobs at the closed Spode Factory.
This has inspired a series of pieces with images on porcelain.

Some works are about porcelain as materiality – to construct with a soft liquid material that becomes strong and hard - and then to maintain a floating character.
Somewhere between dissolution and building - between order and randomness.

Others are about questioning the materials that I 'usually' use.
- Must a colour on ceramics always be an oxide or a glaze?
- Perhaps it could be something else..?
I have coloured/upholstered ceramics with fabrics to investigate what will happen.."
Studio photos of pieces in porcelain, stoneware and textile by Karen Harsbo

LABORATORY FOR CERAMICS - THE ROYAL DANISH ACADEMY OF FINE ARTS
Associate Professor Karen Harsbo is head of the Laboratory, that teaches and researches in the use of ceramics in contemporary art. Here are taught both traditional and new techniques such as modelling, plaster moulds, casting, paper-clay, sand casting, firings and glazing. Furthermore, works are carried out in cast and slumped glass. Classes are held as courses for the respective schools, projects involving other institutions or companies, and by individual work-flow based on each student's project.
Karen Harsbo has a broad experience with the ceramic material, works with and teaches many different paths in ceramics. In teaching context, she has been given to convey an artistic approach to ceramics, historical and technical, for example conducted workshops with the Royal Copenhagen Porcelain 'The White Gold' and Tommerup brick factory including the commission project 'Østerhøj' to Ballerup Municipality; and have researched the use of photo transfer to ceramic surfaces.

MAGIC OF CLAY - Ceramics in International Contemporary Art, Holtegaard DK 2011
Karen Harsbo and visual artist A.Tovborg were curators of the exhibition.
The exhibition showed works by major international artists: Ai Weiwei, Kaspar Bonnén, David Cushway, Thea Djordjadze, Alexandra Engelfriet, Clare Twomey, John Kørner, Jonathan Meese, Hylton Nel, Grayson Perry, Linda Sormin, Klara Kristalova, Alexander Tovborg.
Interview - Karen Harsbo, Alexander Tovborg & Mads Damsbo, Liberty Paterson: http://www.lindasormin.com/docs/leretsmagi_skitser_110406_resten.pdf

HAPPENSTANCE - Ann Linnemann Gallery 2010
Karen Harsbo and Neil Brownsword UK showed unorthodox experiments with ceramic material, and brought to mind the ceramics roles of our time.. socially, artistically and historically.
Ceramics in multi-layers.. the materials and the time we live in.
They investigated known ceramic methods and materials that were treated differently to what tradition subscribes. When the known suddenly becomes different! What happens when 'things' are done to known materials in new ways? The exhibition project developed partly in their private practice and partly in collaboration at 'Experimental Workshops'.
Karen Harsbo's pieces appeared from experiments with mixing and melting known ceramic materials such as glaze, plaster, porcelain. “What happen might be an accident or even a fault, but it opens up to a world of possibilities and creative potential, which could not be pre-perceived. - I was struck by something I heard, which I felt applied well to what I have been working on: 'How knowledge travels from one material to another'. Here my idea of knowledge is: knowledge and abilities embedded in the material, - knowledge of how to handle and work the material, - knowledge of history and culture of the material.
See more about... HAPPENTANCE

Grateful thanks to the Danish National Bank Anniversary Foundation of 1968 for the generous support of Ann Linnemann studio gallery exhibition program of 2013!

CURRICULUM VITAE
Karen Kitani Harsbo - born October 28th 1963 in Japan

EDUCATION
1982-87 School of Arts & Crafts (now: Art Academy Design School)

SELECTED EXHIBITIONS
2013 British Ceramic Biennial - Stoke-on-Trent UK
2012 SAK, Svendborg – Room Mates
Ann Linnemann Gallery, Copenhagen - Behold (group/theme)
2011 International Ceramic Research Center – Guldagergaard - Fire Friends
2010 Ann Linnemann Gallery, Copenhagen - Happenstance (w. Neil Brownsword)
2009 Ann Linnemann Gallery, Copenhagen – Summer Exhibition (Extended Primitivs)
The Japanese Embassy - Japan Journey
2008 Bispegården, Kalundborg (w. Linda Lilholdt & Malene Schjøll)
Sculpture Biennale – King's Garden Copenhagen
Inner Mongolia Art Museum, Hohot, China
2007 Yalu River Art Museum, Dandong, China
International Ceramic Research Center DK - Collaborative Relations
2006 Galleri Mortensen & Markmann (w. painter Lotte Holten)
2005 Marienlyst Slot, Helsingor - Der var engang...
Rundetårn, Copenhagen - Spejlinger
2004 Grønbechsgaard, Hassle, Bornholm - Porcelæn
2003 Vejen Art Museum - Bageværk
Royal Copenhagen – Porcelain
Marienlyst Castle, Helsingør – The White Gold & Momenta Space
Denmark's Museum of Ceramics, Grimmerhus - Network
2000 Trapholt Art Museum – Ceramic Triennial
1999 Charlottenborg – Spring exhibition Copenhagen
1998 Charlottenborg - Spring exhibition Copenhagen
Den Frie - Artists Fall Spring Copenhagen
VK-exhibition (Vestsjælland art exhibition)
1997 Den Frie - Artists Fall Spring Copenhagen
VK-exhibition (Vestsjælland art exhibition), price winner

CURATOR
2011 THE MAGIC OF CLAY - Gl. Holtegaard (with A.Tovborg)
2005 DER VAR ENGANG... Marienlyst Slot, Helsingor
2004 PORCELÆN Grønbechsgård, Hassle, Bornholm
2003 THE WHITE GOLD - Royal Copenhagen
BAGEVÆRK Vejen Art Museum

SELECTED COMMISION PROJECTS
2009 Urban-planen, Amager CrossOver -
2006 Ballerup Stenhavestien – Østerhøj -
2005 Eggerslevmagle Skole, Skælskør, Invisable School Group K+

CLICK photo = LARGE format + slide show .. MORE IMAGES WILL FOLLOW..

ARCHITECTONES - Mikael Jackson DK
Exhibition 5 - 28 September 2013
Opening reception on Thursday 5 September at 16-19.00

Architectural abstraction - illusions in a hard immobile material..

Mikael Jackson is concerned with geometry and abstraction with a view to repetition, simple elements put together in imaginative constructions.
He explores abstract concepts such as fragility to strength, order to chaos, visually tight to loose, industrial to handmade, and he interprets these concepts in architectural ceramic compositions.

MIKAEL JACKSON
"My work is the result of an abstract study of dynamics within a controlled form. The objects are formal explorations.

From a distance, one can get the impression that the complexity of the structure is randomly organized, but when you come closer you realize the conscientious system that each object depends on.

Through interaction and mutual influences, I explore the order and construction of the structures, and the importance of geometric elements as detached and supporting forms.
The finished constructions appear as illusions, documented in a now hard and immobile material, appear most of all like architectural abstractions.

My work consists of combining elements - and my artistic research is characterized by the set of rules that I set for myself:
- I begin with developing a single item. A single geometric element.
Then I make a large amount of elements, as if they were building blocks.
At this point it is important for me not to know whither it takes me - not knowing what the final object is going to look like.

Only then, I start to stack and support, to hang and hold together, so that several elements eventually are composed to become one object - or one line-up.

As the objects simultaneously express a visual fragility, they enhance the feel of the balancing-act linked with the 'to stack and support, hang and hold together'.
- So briefly described, I let the shapes of the elements determine the stacking method - and I let the stacking method help determine the final forms of the objects."

Mikael Jackson graduated from the Royal College of Art in London in 2008. He started his education at the Design School – Kolding and a one-year study at the Konstfack in Stockholm.
In 2013, Mikael received a work award from the Danish Arts Foundation. He exhibits in Denmark and Internationally, and is known from 'the Autumn Exhibition' at Den Frie and the exhibition 'Across' in Tappehallerne - Carlsberg, Vallauris International Biennial in France, Puls Gallery in Brussels and Gallery Mint in London.
He has a studio in Copenhagen, works at the Tommerup Brick Factory and teaches at the Odder Hojskole.

Since the start of his career, Mikael Jackson has been engaged in geometry and experiments with sculptural objects from conceptual ideas, connections between form, material and idea - and he has looked at geometry from multiple angles: ornamentation, Islamic patterns, heliotropic forms, building blocks, architecture etc...
He works freely in all ceramic materials and often with a repetition of elements connected in a myriad of ways appearing from conceptual ideas, his own set of rules - a dogma.

PREVIOUS EXHIBITIONS - Mikael Jackson at ANN LINNEMANN GALLERY

HELIOTROPE - Mikael Jackson and Jens Rune Gissel - 2012
Mikael Jackson's geometric ceramic objects appeared as scenery and actors in the pencil-drawn stories by the painter Jens Rune Gissel - in line with the Heliotropic growing nature of forms.
See the exhibition: HELIOTROPE - 2012

IN PLAY - Mikael Jackson and Lis Ehrenreich - 2011
This exhibition showed ornamental variations from Mikael Jackson's installation the 'Magic Carpet', which shadow created an oriental carpet, to Lis Ehrenreich's vessels containing ornaments of a Middle Eastern cultural heritage. Two generations 'In Play' creating a dialogue.
See the exhibition: IN PLAY – 2011

Grateful thanks to the Danish National Bank Anniversary Foundation of 1968 for the generous support of Ann Linnemann studio gallery exhibition program of 2013.

CLICK photo = LARGE format + slide show .. MORE IMAGES WILL FOLLOW..

INTENSITY – POLARITY
Hans Munck Andersen & Lea Mi Engholm DK
Exhibition 3 - 26 October 2013

Oppositions meet in sensibility, intensity and natural dynamics of growth...
The renowned ceramic artist Hans Munck Andersen exhibits together with the young talented Lea Mi Engholm. Together, they show an exhibition of pieces that contains both intensity, extremes in material and expression, but also concludes their similarities in the sensuous detailing.

Hans Munck Andersen has an organic cubist approach in his new pieces 'Redesign', where lines and planes are reconstructed and rethought from older techniques and 'recycled' parts of his earlier archetypal bowl shapes. He creates a renewal through these multi-fragmented flashbacks.
www.gerdoghans.dk - See VIDEO of Hans & Gerd ...

Lea Mi Engholm's approach to ceramics is characterized by a curiosity for detail, an insight to the natural possibilities of the mixing, forming and firing of simple ceramic materials.
She has a rare ability to capture and retain the moment when the material is at its most surprisingly interesting state.
Lea Mi Engholm - www.danishcrafts.dk/PROFILES/ Lea Mi Engholm

Hans Munck Andersen – Snail-pace aesthetics
“Nature provides a source of inspiration. The principle of natural growth dynamics is very fascinating to me.

The combination of the twisted coils and the spiral growth of my porcelain bowls, conveys an expression, far away from something constructed or mechanic dynamic. It rather has an expression as if it was created by nature.

Yet another source of inspiration is the colourful, Islamic ornaments and occasionally I use the colour combinations in my work. It is a time consuming work process, and I am convinced that this shows in my finished works. I cultivate the 'aesthetic of slowness in a fast-paced world'.

In 1970 when I was artist in residence at the Royal Porcelain Factory in Copenhagen, I became aware of the statuettes of Biscuit Porcelain by Jean Gauguin. These marbled figurines brought me to the coloured porcelain coils. At that time I had my focus on Pop Art and this came to be expressed in my work.
Later on, my interest in Minoan ceramics as well as coloured glass of classical Antiquity and of art nouveau were determinant in the development of my own technique. A technique almost similar to the Japanese Neriage method, which I became acquainted with during my first visit to Japan in 1980. As time went by, this method became my major source of inspiration.

Within the last couple of years, I have once again taken up the sculptural aspects of my craft. In porcelain paper-clay slabs, I build up cubist-like objects, with architectural lucidity and at the same time sensual body-likeness. These are created in a sort of de-constructionist kind of way where fragments are split up and then reunited in contradictory, complex connections, whereby new pictures are created.”

Hans Munck Andersen was born in 1943. He graduated from the School of Arts&Crafts in Copenhagen 1963-68 and continued his studies at the Danish Art Academy of Architecture and Design Department 1972-73. He has had his own studio since 1973. In 1988-89 he was censor of the Artists Summer Exhibition and in 1988-92 examiner at the Danish Design School in Kolding.
He exhibits Internationally: Hetjens Museum, Dusseldorf 1970, English Ceramic Design, USA 1981-83, IAC Member's Works, Saga Art Museum Japan 1996, Gallery Nørby 1997/2000, the Glyptotek 2002, Bornholm Art Museum 2007, International Ceramic Museum, Grimmerhus 2010... And he is represented at the Design Museum Denmark (Art, Craft and Design), Bornholm Art Museum, North Jutland Art Museum, Gothenburg Röhsska Museum, Berlin Kunstgewerbermuseum, Oslo Art and Design Museum, New York National Museum of Design, Hannover Kestner Museum, Westerwald Museum Höhr -Grenzhausen, Ichon World Ceramic Center Kyonggi, Korea ...

Lea Mi Engholm – About Intensity
"I am preoccupied with the clay qualities. The more one gets to know the materials, the more options open up. In this project the aim is to explore the immediate properties of the clay.

Through the work process I discover, sometimes quite by accident and as a by-product of something else, new opportunities in the nature of clay that surprise me.
By repetition various structures form depending on the clay consistency, if it is soft, liquid or hard. Soft slip on a plaster board, which is scraped off with a knife, a mass of discarded dry leftover clay, small rolled-up clay coils, something which in itself is not immediately interesting.
But by starting with cultivating, refining and repeating the process, then new structures and details appear almost grown by themselves.
I work intuitively and try to leave my options open. I have not pre-arranged the final result. The overall idea of my work for this exhibition is to cultivate the inherent properties of clay with me as an observer and actor."

Photos of previous work - photographer Ole Akhøj:

Lea Mi Engholm was born in 1977 and graduated in 2006 from the School of Art and Design, Kolding, ceramic department with a study at the HDK Högskolen of Design and Crafts, Gothenborg University, Sweden. She has since worked in a group studio Viktoria in Copenhagen and works now in her own studio on the island of Funen.
Lea Mi Engholm has exhibited at the International Ceramic Museum - Grimmerhus, the Spring Exhibition at Charlottenborg, Talente in Germany, Biennial for Crafts and Design, Danish Crafts Collection 2011 – and received several awards including a work grant from the Danish National Arts Foundation in 2013.
She is a member of the Association of Danish Arts Crafts and Design and was in 2012 by The Danish National Arts Foundation awarded for the exhibition 'Meditations on a Hobby Horse' with the artist group VERSUS.

Grateful thanks to the Danish National Bank Anniversary Foundation of 1968 for the generous support of Ann Linnemann studio gallery exhibition program of 2013.

CV – HANS MUNCK ANDERSEN
Born on April 21, 1943
Member of IAC The International Academy of Ceramic Art and ACAB, Bornholm

1963-68 Design School in Copenhagen
1972-73 School of Architecture Design Department
1973-.. Own studio
1988-89 Examiner, The Artists Summer Exhibition
1988-92 Examiner, Arts and Crafts School, Kolding

SELECTED EXHIBITIONS
1970 Hetjens Museum, Dusseldorf
1981-83 English Ceramic Design , USA
1996 IAC Member's Works, Saga Art Museum, Japan
2000 97 Gallery Nørby, Copenhagen
2002 Glyptotek, Copenhagen
2007 Bornholm Art Museum
2010 International Ceramic Museum, Grimmerhus
2013 Round Tower, Copenhagen

SELECTED COLLECTIONS
Design Museum Denmark (ex Art,Craft & Design)
Bornholm Art Museum
North Jutland Art Museum
Röhsska Museum, Gothenburg
Berlin Kunstgewerbermuseum
Art and Design, Oslo
National Museum of Design, New York
Kestner Museum, Hannover
Ceramics Museum Westerwald, Höhr-Grenzhausen
Ichon World Ceramic Center Kyonggi, Korea

CV - LEA MI ENGHOLM
Born in 1977
Member of the Danish Arts&Crafts Association and the artist group VERSUS

EDUCATION
2001-2006 Kolding School of Design
2004 HDK Högskolen of Design and Crafts, Gothenburg University, Sweden
1998-2001 College of Arts and Crafts, Kerteminde

SELECTED EXHIBITIONS
2013 inwardness Additional, Ann Linnemann Studio Gallery, Copenhagen
Masterpiece - miniature, Ann Linnemann Studio Gallery, Copenhagen
Tangibility, curated by Norwegian Arts and Crafts, Officinet, Copenhagen
Meditations on a Hobby Horse Vol II, VERSUS, Nicolai Art and Design, Kolding
2012 Meditations on a Hobby Horse, VERSUS, 68m2 Art Space, Copenhagen
2011 Transform, VERSUS, Aarhus
2010 Across, New Tap, Copenhagen
Nature Morte, VERSUS, Munkeruphus, Dronningmolle
2008 Clay 08, SAK Arts Building, Svendborg
2007 Charlottenborg Spring Exhibition, Copenhagen
Ceramics in Kolding, Ceramic Department
1968-2007, Koldinghus Kolding
Turf Gallery, London
Biennial for Crafts and Design, Koldinghus Kolding
Talente, Handwerkskammer Munich, Germany
Danish Crafts, Crafts Collection 11, International Contemporary Furniture Fair, NY/Ambiente, Frankfurt

SELECTED GRANTS - Awards
2013 National Danish Arts Foundation, scholarship
Ellen and Knud Dalhoff Larsen Foundation
2012 National Arts Foundation, Award exhibition Meditations on a Hobby Horse
The Bielkeske Scholarship
2011 National Arts Foundation, scholarship
Merchants L. F. Foghts Fund
Hielmstierne - Rosencroneske Foundation

CLICK photo = LARGE format + slide show.. (Exhibition photos by A.Linnemann)

CERAMIC CONCRETION
Mette Marie Ørsted DK
Exhibition October 31 - November 28, 2013

Abstract visions concreted in a tangible material..
Mette-Marie Ørsted works with geometry, card houses, cultural cities in her Ceramic Concretions, which are as cut out with scissors, out and assembled, clearly grown out from the 2D flat to 3D form.

She explores the architectural space interacting with the ceramic spacious, the raw clay versus the glazed surface, the poetic narrative towards pure geometric form. She refers to cultural experience, urban communities and ways of living - abstracts concreted in a tangible material.

METTE MARIE ØRSTED
by William Gelius

Mette Marie Ørsted's exceptional sensitivity to clay is known in her sensuous ceramic bowls, pitchers, vases and much more.
Holding her rustic dishes in the hands almost feels like a warm handshake, but it does not imply the absence of formal consideration. And on rare occasions, she engages in pure form experiments, as is the case for this exhibition.

The project has been a long time coming. In 2004, she created three small, brittle vase - assemblies that now are exhibited for the first time: One in 6 parts of Bedouin tent fabric - thin bone china with fibre material, and one in 7 parts of high-fired red clay on the outer surface appearing as dusty walls, while the inside has tin-glazed walls.

Placed with space between the parts, as it is intended, a labyrinth of mazes of narrow alleys and empty streets occurs, that gives the whole piece a character like a desert-city.
In 2010, for the exhibition 'The world on a plate' at Gammelgaard Culture Centre in Herlev, she created dishes with tin-glazed card houses resting on a plate.
It is of these fantasy cities and imaginary houses that this exhibition of new artworks originates from.
As a novelty, it is a modernist, neo-plasticism or constructivism aesthetic that now exists.
With their right angles they remind us of utopian architectural models, but when it comes to it, they are not models, nor houses. They are spatial structures that only occasionally meet a tight modernist requirement for vertical and horizontal.
Equally often they challenge the logic, structure, balance and harmony by standing upside-down, hanging or sitting at an angle.
The pieces for the exhibition are an exciting formation study, the results of which may well prove to be included in the foundation of Mette Marie's future work - amongst other things, the vases, jugs and dishes.
Photos by Ole Akhøj DK:

Mette Marie Ørsted:
"In the works I have examined the contrast between seemingly random and highly controlled structures. This happened both on an artistic level and in the practical work with the material.
The work is to be shown as if it had partially constructed itself in a dynamic field between self-organized organic and geometric design.

They are inspired by my own sketch drawings that in their line is similar to the city and landscape maps. The lines rise from the flat to the space and become three-dimensional models. Thereby they also reference to mud-architecture in the Arab countries.

In recent years, I have concentrated on the forming and construction techniques in high-fired red clay and earthenware, shown at the exhibition 'The World on a plate'. This project builds on these techniques.
I examine the clay structural tensions: - Can it in the work-flow be compressed or deployed depending on particular techniques and the use of in-blending materials that I have found? "

Grateful thanks to the Danish National Bank Anniversary Foundation of 1968 for the generous support of Ann Linnemann Gallery exhibition program of 2013.

Photos of her earlier works:

Mette Marie Ørsted was educated at the School of Arts&Crafts (now: Danish Academy Design School) 1973-1977.
She has had several solo exhibitions and participated in group and juried exhibitions, including the Biennial for Crafts and Design on Traphøj Art Museum and Kolding Castle in 2007 and The Design Museum Denmark 2002, and received Grants from the Danish Arts Foundation, including a Work Grant in 2011.

She has had her own studio since 1990, and she is a member of the Danish Arts and Crafts Association

BIOGRAPHY – METTE MARIE ØRSTED
Born in 1952
Member of the Danish Arts And Crafts Association

EDUCATION & PROFESSIONAL CARRIER
2010- Keramikunderviser på Institut for Blinde- og Svagtseende, Hellerup
1990- Eget værksted, Gammel Kongevej 39 C
1988-1996 Gæstelærer, Danmarks Designskole
1984-1986 Billedskolen, Jagtvej
1973-1977 Skolen for Brugskunst (Danmarks Designskole), Keramik- og Glaslinjen

SELECTED SOLO EXHIBITIONS
2010 Mobil Tepotte, Butik for Borddækning, København
2008 Porcelænskander klippet med en saks, Butik for Borddækning, København
2007 Kanden – kan den, Galleri Pagter, Kolding
2005 Kander klippet med en saks, Galleri Nørby, København

JURIED EXHIBITIONS
2007 Biennalen for Kunsthåndværk og Design 2007, Trapholt og Koldinghus
2002 Biennalen for Kunsthåndværk og Design 2002, Kunstindustrimuseet

SELECTED GROUP EXHIBITIONS
2013 Mesterværker, Ann Linnemann Galleri, København
2012 Behold, Ann Linnemann Galleri, København
2011 Verden på et Fad, Gammelgaard, Herlev
2010 Tepotter af tiden, Danmarks Keramikmuseum Grimmerhus, Middelfart
2009 Kunstforeningen af 14. august
Sommerudstilling, Ann Linnemann Galleri, København
Clausens Kunsthandel, København
2008 Porcelænskander klippet med en saks, Butik for Borddækning, København
Et tosset teselskab, Butik for Borddækning, København
2007 5 kunstnere, Bispegården, Kalundborg
Func Art, Drud og Køppe Galleri, København
2006 Galleri Kant, Sønderho, Fanø
North meets South, Nordiska Museet, Stockholm
2004 Ceramiques Danoises, Centre de Creation Ceramique de La Borne
2000 Keramik uden fortilfælde, Udstillingssted for Ny Keramik, København
1999 Brugsting i lertøj, Galleri Nørby
1998 Suppeskåle, Galleri Nørby, København
Udstillingssted for Ny Keramik, København
1997 The Contemporary Teapot, Danmarks Keramikmuseum Grimmerhus, Middelfart
1996 Vase, Galleri Nørby, København
Dansk Kunsthåndværk og design, Skt. Petersborg
Duplika, Dansk Arkitektur Center – Gammel Dok, København

GRANTS AND AWARDS
2011 Statens Kunstfonds arbejdslegat
2009 Legat fra boet efter Gertrud Vasegård
Bergiafonden og Statens Kunstfonds legat til udstillingen 'Verden på et fad'
2007-2009 Statens Kunstfonds arbejdslegat
2007 Nordea Danmark Fonden
1999-2001 Statens Kunstfonds arbejdslegat
1997 Statens Kunstfonds arbejdslegat
1995 Danmarks Nationalbanks Jubilæumsfond
1994 Den Danske Keramiktriennalepris

PUBLICATIONS
Dansk design ved årtusindeskiftet. Christian Ejlers forlag
Ny keramik. Udstillingssted for ny keramik. Rhodos forlag

COLLECTIONS
Kunstmuseet Trapholt, Kolding
Kunstindustrimuseet, København
Statens Kunstfond
Kulturforvaltningen, Kolding
Kunstforeningen af 14. august

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FRAGILE EXHIBITION June 1 – 30 2012
Bodil Manz, Jane Reumert, Malene Müllertz and Heidi Hentze

Delicate ceramic pieces with personal strength and poetry.
The exhibition shows new work by Bodil Manz, Jane Reumert, Malene Müllertz and Heidi Hentze. Four Danish ceramists, who master creating frail containers with personal power, identity and poetry. They present the result of new ideas and unusual sides of their art practice.

Fragility and transparency are related characteristics of their works. With an 'arts and crafts' background and a ceramic tactility and 'jar' reference, they have each in their own way developed the concept of function into an individual sculptural and personal area.

The characteristics of the pieces are closely related to the makers, their passion, curiosity, techniques of making and material refinement.

Bodil Manz, Jane Reumert, Malene Müllertz are acknowledged and admired by all Danish lovers of ceramic art for their eminent personal work. In this exhibition they are accompanied by Heidi Hentze, a young rising ceramic artist, whose recent début received the prestiges Danish Arts and Crafts Award for new ideas, the 'Kunsthåndværkerprisen' in 2011.

Bodil Manz ”I present a new series of cups in groups of 9, which stand up like toy soldiers – facing the same direction, - a joined composition. Looking from different angles the expression changes.

Firstly they are high fired. Then another high-firing with the transfers in blue, black and yellow. Finally a low firing with Japanese red, orange and gold.

I also show a small selection of new cylinders and a larger oval form.”
Bodil Manz works with transparent cylindric and geometric forms. With fine colourful graphic lines and shapes she transforms the 2D decoration into a tree-dimensional piece. Images of work by Bodil Manz

Jane Reumert paints on thin porcelain bowls, light strokes with memories of Danish beaches, or she allows the ashes from the wood firing to deposit naturally on the structures of the form and surface.

”I have freshly approached the new 'curly' forms, a botanic universe of thin, round bowls, 'shells' – natural phenomena. Freely experimental forms of splines, dots, cylinders, that may remind of a plant stem. The seed, capsule gets a new life, upon which the ashes from the firing fly onto folds and grooves, melt, drip and apply the forms an extra unpredictable dimension.”
(Photos: Ole Akhøj - Exhibition photos: A.Linnemann) - Jane Reumert

Malene Müllertz cuts intricate net constructions in stoneware, connecting the forms with tactile glaze nuances and simply drawn decorations, and melts all the details together in a wholeness.

”I have changed the usually so earthy and stationary clay into something light and mobile – with sound within. The ceramic cylinder container is made into a net with loose elements applied. The loose and moveable fragments give a lively and joyful feeling, when taking the net in the hands – it makes a clinging sound, like a thousand bells, when moved.”
CV - www.malenemüllertz.dk

Heidi Hentze experiments with porcelain clay and glaze in poetically folded containers, that reveal new areas for personal and adventurous feelings as in origami and paper cuttings.

“It started as material tests, the invention and challenge of ceramic techniques and materials. The fight with and against gravitation. Making things as thin as possible, - and then a bit thinner than this... About seeing and turning flaws to advantages... A state of fragile existence.
- And it looks difficult to make, - because it is ;-)”
Member of ACAB (Danish Arts&Crafts Association - Bornholm) Exhibition photos: A.Linnemann

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BEHOLD
Exhibition 5 – 28 July 2012

Masses of containers - in good shape!
The vessel form is admired and defamed – loved and idolized... but also called traditional and dull. - Is it retro or old fashion? - Is it wonderful and mythical?
- Does it contain hidden messages, political statements?
- Is it Craft, Art&Craft, Fine Art?.. What does it contain? - concepts, contexts?

In Danish, the title 'BEHOLD' has various meanings:
- the short form: BEHOLD = keep, retain, hold on to!
- the noun: BEHOLDER = container, vessel; keeper, owner, collector
– the verb: BEHOLDE = to keep, retain, hold, have, remember...
- the Danish sentence: I GOD BEHOLD = in good form, safe and sound :-)

Danish and international artists – who work in clay – show and share their visual ideas of the 'Beholder', - each accompanied with a single sentence statement.
It is a lively exhibition, in which the artists express their personal idea of the 'beholder' - the vessel, jar, container...

Visitors have this great opportunity to behold a large number of ceramic forms, made by more than 30 professional artists.
It is a 'study exhibition', that can be 'read', but also a unique collection of contemporary ceramic art pieces, that the viewer can behold, hold, hold on to, - and buy to hold their own personal vision.

The 'Beholder' is roomy and conveys endless questions and answers.
Does the enrichment entirely appear from aesthetic beauty, form fullness, tactual sensation? - Does it only talk about itself? - Does it hold an artistic expression of our time? - Is it a contemporary art form? - Does it hold up, keep up? - Does it hold water? (Danish pun meaning: is it true/real/honest?)– What does it hold?

Must the 'Beholder' be thrown around, broken, closed, perforated, transformed, - until it makes a 'loud enough noise' – just to wake up somebody?
- Or might it precisely be made so to describe … what must be shouted?
Can the Vessel still come out with a new story, that simply must be told – in its own form and space?

Why do many ceramicists still choose to work from the vessel form, cylinders, containers?
Is the ceramic vessel seen as a present time-typical art form, a roomy art object, a sculpture, - or is it seen as a metaphor with the context of the history of the material, the tradition of the form, the relationship to the human body – as a container of life?

Are ceramicists entirely interested in material, form, decoration, function and tradition?
Have they decided to weigh the function of the form, do they also look at the essential notion of form, or do they primarily consider the materials tactility, the depth of the colours, the story of the form, the meaning of the motives?

Is the vessel always completely innocent, cosy and nice to hold?
Is the vessel a roomy sculptural object, like a dear child, who can evoke memories and echoes for most people all over the world – A worldly cultural gathering point, that has been passed on from hand to hand, as something collectively recognizable? - Is the container an unconscious memory of the wonderful meal – from stone age to present time – nurturing, life reassuring and delightful?

Can we compare 5000-year old jars with the present time vessels and feel our ancestors touch passed on throughout the hurried development of technology and industry?
Can we in the form of the 'beholder' feel the beginning of civilisation, a guide mark of gravity and earthy importance? - Does it portray a basic human need for the rounded and roomy, which we can gather around? – a united remembrance - a fertility symbol?

Why keep this art form alive, when it only has a small and specialized audience?
After the Danish pottery apprenticeship has closed, the Art&Craft schools have become academic design educations, and even the renowned Danish KunstIndustryMuseum is renamed the Danish Design Museum, - is there any foundation for still working out of the roots of a traditional craft? - Is the vessel a sentimental copy of an antiquated life-style? - Is the 'beholder' so invisible and quiet, that it can not keep up with the speed of times, desire for news and publicity value?

- What are we going to do with it? - Does it have value?
- What is it nowadays anyway? - BEHOLD!!

There is not a single-minded answer at this exhibition; but the 'Beholders' will talk..

EXHIBITORS: Anne Fløche, Ann Linnemann, Beate Andersen, Bodil Manz, Charlotte Thorup, Christina Schou Christensen, Esben Klemann, Gerd Hiort Petersen, Gunhild Aaberg, Hans Munck Andersen, Hans Vangsø, Heidi Hentze, Helle Hove, Jakob Stig Isaksen, Jane Reumert, Karen Harsbo, Kim Holm, Lis Ehrenreich, Lisbeth Holst-Jensen, Lone Skov Madsen, Louise Birch, Malene Müllertz, Marianne Krumbach, Marianne Nielsen, Morten Løbner Espersen, Martin Bodilsen Kaldahl, Mette Marie Ørsted, Ninna Gøtzsche, Sten Lykke Madsen, Sandra Davolio, Turi Heisselberg Pedersen... internationale: Akio Takamori/USA-J, Kurt Weiser/USA, Paul Scott/UK, Kirsten Coelho, Prue Venable, Stephen Bowers/AU.

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STATE
Kristine Tillge Lund DK
2 August – 1 September 2012

"The thought of destruction is present, when one works with the fragile..."

Skagen Hunters - Photo by Laurits Tuxen

Kristine Tillge Lund
The understanding of clay and ceramics as a phenomenon is the predominant theme, Kristine Lund Tillge works with, - her artistic field of interest.

She makes a critical investigation of the material and its social historical context.
Through this subject she comes across very different areas and visual experiences.

For this exhibition she has, in a personal defined project, explored the ceramic material and its fragility viewed from various angles.

Ceramics is present and frequently used in everyday life. Depending on the context and affiliation of the material, it will provoke different emotions and associations.
She has investigated these various conditions and reactions, and worked in ways of visualizing her research.
Furthermore she has included a balance in value and vulnerability within the hierarchy of the clay types.
Exhibition pieces:
1. Without title – grit construction, porcelain - hight: 2 meters
2. Without title – clay pigeon/clay target, earthenware 'Moler'
Thanks to Tommerup Ceramic Workshop!

Kristine Tillge Lund belongs to a younger Danish elite of contemporary artists, who take part in developing the field of ceramics into a broader perception of contemporary ceramic art.

Photos:
Mikkel Rahr Mortensen

She studied at the Royal College of Art, London 2006-2008 (MA) and The Royal Danish Academy of Art & Design, Bornholm 1998-2001. She has exhibited in Denmark, Sweden, Germany, Italy, France, USA, Belgium, Spain, Holland, Norway and England.

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In a previous project 'Arcade', Kristine worked with prefabricated white tiles, that are seen in both public spaces and the very private places. She combined some of these situations from everyday life and created an installation of autonomous systems, which at once became detached from the usual form and simultaneously kept a clear reference to it.
(Exhibition: Toves Galleri, Vesterbro Contemporary Work Out Space DK 2012)

About Kristine Tillge Lund
Her studio is in Northwest of Copenhagen. She also works at Tommerup Ceramic Workshop on the island of Funen and actively participates in the exhibition group 'Inhabitants', who in the Spring were highly praised by the Danish TV program “Smagsdommerne” for the exhibition 'Orders' at the Gallery 'Copenhagen Ceramics' April/May 2012.

She was the initiator and curator of the large ceramic exhibition 'Across' in Carlsberg Tapping Hall, 2010 and has exhibited in the renowned Danish juried exhibitions: 'Biennial of Crafts and Design' at Koldinghus 2011 and 'The Artist's Autumn Exhibition' 2008 ...

Selected exhibitions:
'Orders' Inhabitants, Copenhagen Ceramics, Copenhagen 2012 - 'Arcade' Tove's Gallery, Vesterbro Contemporary Work Out Space, Copenhagen 2012 -
'Phoenix Landscapes' 77m3, Aarhus 2011 - 'Deep into the Forest - Inhabitants', Designer Zoo in Copenhagen 2011 - Galerie Contour Ålbæk 2011 - 'Window 107' alt_copenhagen, Factory of Art and Design, Copenhagen 2011 - 'Living with Ceramics' Ampersand House, Brussels, Belgium 2011 - 'The Biennial for Crafts and Design' Koldinghus 2011 - 'Happy Christmas Stocking' Heart Gallery, Brussels, Belgium 2010 - 'Across' New tap, Carlsberg City, Copenhagen, 2010 - 'COM' Cypres Gallerie, Leuven , Belgium, 2010 - 'Camard & Associés' Paris, France 2010 - 'Checking in with the inhabitants' Jantzens Hotel, Gudhjem, 2010 - 'Decade 01' School of Design, Bornholm 2010 - 'Window 107' Istedgade, Copenhagen 2010 - 'Kristine Tillge Lund invites ...' Puls Contemporary Ceramics, Brussels, Belgium 2009 - 'A New Beginning' Michael Jackson and Kristine Tillge Lund, 'Artists Autumn Exhibition', Copenhagen 2008.

A New Beginning - Mikael Jackson og Kristine Tillge Lund, Juried Artists Autumn Exhibition 2008. Photo: Rasmus Kjærboe
Quote from article by Rasmus Kjærboe/KunstenNU: "Charred Donald Duck is the exhibition's best feature ... six black characters hanging on the wall who look like tiny charred mummies. They weathered or severely burned ceramic pieces, A New Beginning, by Michael Jackson and Kristine Tillge Lund turns out to be based on the figure of Donald Duck. It's different and original, both in the selection of material, design and references, and consequently distancing itself to the rest of the exhibition, which mostly looks like a reading of 'tendencies'. "
Photos of ART PIECES:
'Arcade' Vesterbro Contemporary Work Out Space Photo: Mikkel R. Mortensen
'Hole' 2010, 45 x 45 x 180 cm. Photo: Mikkel Rahr Mortensen
'Pinocchio' 2010, 10 x 10 x 4 cm. Photo: Mikkel Rahr Mortensen
'Hot Chocolate' 2010, 40 x 40 x 10 cm. Photo: Mikkel R. Mortensen
'STATE' 2012 - Exhibition photos by Ann Linnemann

CLICK photo = LARGE format + slide show .. MORE IMAGES WILL FOLLOW

A COLLECTOR's DINNER
Christmas Exhibition 1 – 23 DECEMBER 2013
New table setting every week

Exhibition full of ceramic pieces - ceramics lovers & collectors dream

SUNDAY DECEMBER 1. at 15-19.00 - Christmas reception - JULESTUE
The first table setting is THINGS FOR SUSHI by Sten Lykke Madsen.

The exhibition is about the use of things – finding room for original ceramics on the dinner table - and all the shelves and walls :-)
A unique table will be set for dinner, sushi, coffee/tea - in play with untraditional objects by the gallery artists..

There are no limitations, but always room for a lifestyle with it all – full of delight, mind and beauty.
Special pieces that can be bought for a few or more money by the passionate collector and by those, who simply are in love with beautiful unusual objects.

The Gallery shows a 'dining room' filled with special original pieces and focuses on the collectables describing people, presence, art and love of material, craftsmanship, aesthetics, social and political concepts in ceramic art of our time.

How do you live in a home full of a passionate ceramic collection?

- Lifestyle TV-programs/magazines center on collectors, collections, beautiful homes, interior, living design, collectors market and purchases...

Ceramics are traditionally evaluated for functional values and valued as art objects. - Functional design, craftsmanship or artistic value?
All together this also just shows a desire for life and multiple ways of telling the stories, we do need to see and remember every day.

SELECTED PIECES AND ARTISTS - A COLLECTOR'S DINNER..
SEE Gallery collectables - LINK!
Anne Fløcke - Ann Linnemann - Bente Hansen - Bente Skjøttgaard - Bodil Manz - Charlotte Thorup - Christina Schou Christensen - Esben Klemann - Extrudox A/S Steen Ipsen/Anne Tophøj - Gerd Hjort Petersen - Hans Munck Andersen - Hans Vangsø - Heidi Henze - Helle Hove - Iben Kielberg - Jakob Stig Isaksen - Karen Bennicke - Karen Harsbo – Kim Holm - Kirsten Christensen - Kirsten Høholt - Lis Ehrenreich - Lisbeth Holst-Jensen - Lone Skov Madsen - Louise Birch - Malene Müllertz - Marianne Krumbach - Marianne Nielsen - Martin Bodilsen Kahldahl - Mette Marie Ørsted - Mikael Jackson - Morten Løbner Espersen - Ole Jensen - Sandra Davolio - Sten Lykke Madsen - Søren Thygesen - Turi Heisselberg Pedersen... USA - Akio Takamori - Kurt Weiser - Lesley Baker - ENGLAND - Margaret O'Rorke - Neil Brownsword - Charlotte Hodes - NORGE - Elisa Helland-Hansen – AUSTRALIA - Kirsten Coelho - Prue Venables - Stephen Bowers...

Udvalgte udstillere:

Sten Lykke Madsen Sten Lykke Madsen is recognized for his fabulous humorous figures, that in funny ways bring the viewer into a different world of hybrids between animal and human. The themes of eroticism and love are always present in Sten Lykke's motives.
Sten Lykke Madsen was born in Copenhagen, Denmark, where he trained at the Art, Craft and Design School. He has been a professional ceramic artist since 1958. His work has been shown in numerous solo and group exhibitions both in Denmark and overseas, and is in the collections of the Victoria and Albert Museum, London; Boymans-van Beuningen, Rotterdam; Museo Internazinale delle Ceramice, Faenza and many other museums.

Ann Linnemann (DK) shows hand-thrown porcelain for sushi, dinner, lunch and coffee in white and a hand-painted seasonal landscape series. The nature theme gives each piece a personal story.

Paul Scott og Ann Linnemann (UK/DK)- Landscape Blue series holds cups and paltes with cobolt blue silkscreen print and gold/silver rims on hand-thrown transparent poecelain. The motives are trees and ornaments from old tableware.

Bodil Manz is internationally acknowledged for her thin transparent porcelain cylinders with graphic transfers. The pieces were especially selected for the exhibition FRAGILE in June 2012 – One piece has an unusual organic form in contrast to the strict graphic lines at the cylinder form, that Bodil is mostly known for.

Esben Klemann is educated at the Royal Danish Academy of Art in Copenhagen. He is known for his remarkable sculptural and architectonic pieces, commission projects in Denmark and abroad. He works freely with architectural pieces for public space and exhibition. Always challenged by the characteristic qualities of the material and a desire to test limits of ability.
Pieces for the wall and horizontal.

Prue Venables (Australien)makes the shift to porcelain the natural step for anyone looking for hardness and ringing clarity. Her objects are confidently utilitarian, with deliberate but understated echoes of the purposeful crispness and functionality. She is internationally recognized, lives and works in Australia.
Hand-thrown bowl with handles, black, mat glaze.

See GALLERY SHOP - COLLECTABLES - LINK
(The program is subject to change )

9 JANUARY – 1 FEBRUARY LIGHT & SHADOW - Construction
Theme I - young talents
Construction and other constellations – in light and shadow meet order and chaos.
Alikka Garder Petersen works with light and shadow in geometric space, Theis Lorentzen creates a dynamic universe of objects in colour harmony and balance, while Pernille Pedersen Pontoppidan challenge chaos and randomness in expressive installations. The three exhibitors have worked with construction, yet they stay fundamentally different to the idea, sensuality, expression, form.. - function and aesthetics.

6 FEBRUARY – 1 MARCH TURNING A-ROUND Theme II - young talents
Marie Hermann, Ninna Gøtzsche and Kirsten Høholt relate to the hand-thrown form and traditional craftsmanship, but in very different ways. Their conceptual standpoints with a focus on manual labour is in a dialogue on contemporaries many ways of relating to the everyday utilitarian object, function, ceramic materials and pottery tradition. This exhibition shows the hand-thrown piece as a concept - and the crafts in contemporary art.

6 MARCH – 29 MARCH MOVEMENT
Asger Kristensen and Lone Borgen/Stephen Parry UK
Asger Kristensen's characters and objects are narratives in clay and glaze, also describing the contradiction in the meeting between concrete form and abstract structure. Danish Lone Borgen and English Stephen Parry present collaborative works that are moving from the traditional jar into an abstract dreamy tale-teller world, layer by layer revealed in the ceramic glaze and print collage. The exhibitors experiment with form, material and narrative in an ever reflective development.

3 APRIL – 3 MAY TIME AND SPACE - Bodil Manz DK
Bodil Manz's ceramic pieces express cultural reference, link to places and time periods, which give a timeless feeling and clarification. She uses different materials and firings - and each work may be seen in the light of opposite philosophies. Yet combined, the work reveals an indefinable sense of time and space. For this exhibition she links and composes various types of her familiar forms, patterns and ideas in an assemblage with completely new pieces.

8 MAY – 7 JUNE CLAY PLANES - Gerd Hiort Petersen DK & Samuel Chung USA
Spacious ceramic pieces touched by geometric forms and planes . Gerd Hjort Petersen will show her ceramic vessels transgressed in various ways by rock planes and sketch models made for commission projects. Samuel Chung relates his work to the Korean jar-culture, but breaks out of the tradition by using a Scandinavian inspiration and the symbolic geometric form elements appearing in his 'cloud vessels'.

12 JUNE – 16 AUGUST FORM LANGUAGE - MIND PLAY
- international thematic exhibition invited/juried
Danish and international artists working with clay, are challenged to create each a work in conjunction with a text.
The pieces are intended to illustrate a story, poem, fairytale, proverbs. The All-things history.. will be a multifaceted story in clay. Things and phrases are linked literally to both visualize and to describe the notion of the written word in contemporary ceramic art..
(One piece from each exhibitor at a maximum of 25 cm + the text)

21 AUGUST – 13 SEPTEMBER AROUND THE EARTH
Vibeke Rytter & Ann Linnemann DK
The common theme is the travel description, experiences of other cultures and personal memories of visited places.
Both are eager to see the world, travel and describe impressions from travelling. Vibeke Rytter works with photographic prints in ceramic tableaux or wall pieces, and Ann Linnemann paints with glazes and ceramic colours on hand-thrown forms 'a World in round shapes'.

18 SEPTEMBER – 25 OCTOBER NATURE FEATURES - Danish and International exhibitors
Jane Reumert, Heidi Hentze, Lis Biggas DK, Jonathan Keep UK...
Nature inspiration is a great topical theme of all times containing an infinite number of expressions, facets and angles.
For this exhibition, Jane Reumert refines the delicate botanical in fragile porcelain pieces, Lis Biggas takes imprint of natural phenomena and Heidi Hentze combines paper-like geometry with organic growth and decay, while Catrin Howell elegantly generates fragments of animal imitations and Jonathan Keep decodes nature in 3D printed form. All the exhibitors show a deep interest and fascination in the unique features of nature.

30 OCTOBER – 29 NOVEMBER MEETING BEAUTY - Marianne Nielsen invites..
Poetic philosophic exhibition that deals with ceramic phenomena. A culturally inherent meaning of ceramics, where traditional designing may underlie the understanding of the object's identity and highlight the most trivial object's iconic strength. A focus on the depictions of beauty, either concretely - but also indirectly, as a representation of beauty in the form of an agreed symbol usage. (The guest exhibitor will be invited by Marianne Nielsen)

1 – 23 DECEMBER A COLLECTOR's PARADIZE - Gallery collection..
The exhibition will show a collector's home.. - How to use and live with an original contemporary ceramic collection. For the dinner table - shelves and wall objects :-)
A unique table will be set for dinner, lunch, coffee/tea party - in play with untraditional objects by all the gallery artists..

PERMANENT EXHIBITION - ARTISTS - See GALLERY SHOP - COLLECTABLES
Anne Fløcke - Ann Linnemann - Barbro Åberg - Beate Andersen - Bente Hansen - Bente Skjøttgaard - Bodil Manz - Charlotte Thorup - Christina Schou Christensen - Esben Klemann - Extrudox A/S Steen Ipsen/Anne Tophøj - Gerd Hjort Petersen - Gunhild Aaberg - Hans Munck Andersen - Hans Vangsø - Heidi Henze - Helle Hove - Iben Kielberg - Jakob Stig Isaksen - Karen Bennicke - Karen Harsbo – Kim Holm - Kirsten Christensen - Lis Ehrenreich - Lisbeth Holst-Jensen - Lone Skov Madsen - Louise Birch - Malene Müllertz - Marianne Krumbach - Marianne Nielsen - Martin Bodilsen Kahldahl - Mette Marie Ørsted - Mikael Jackson - Morten Løbner Espersen - Ole Jensen - Sandra Davolio - Sten Lykke Madsen - Søren Thygesen - Turi Heisselberg Pedersen ... USA - Akio Takamori - Kurt Weiser - Richard Shaw - Lesley Baker - ENGLAND - Margaret O'Rorke - Neil Brownsword - NORGE - Elisa Helland-Hansen – AUSTRALIEN - Kirsten Coelho - Prue Venables - Stephen Bowers...

CLICK photo = LARGE format + slide show

LIGHT & SHADOW - Construction Theme I - young talents
Theis Lorentzen, Pernille Pontoppidan Pedersen, Alikka Garder Petersen DK

Exhibition 9 January – 1 February 2014

Construction and other constellations – in light & shadow meet order & chaos.
For this first themed exhibition of the year the exhibitors have related to construction, yet they stay fundamentally different in their ideas, sensuality, expression, form.. - function and aesthetics.
Alikka Garder Petersen works with light and shadow in geometric space, Theis Lorentzen creates a dynamic universe of objects in colour harmony and balance, while Pernille Pedersen Pontoppidan challenges chaos and randomness in expressive installations.

THEIS LORENTZEN - Animated Abstractions

THEIS LORENTZEN creates "an animated world of objects and wall installations, where colours and forms are part of a dynamic interaction. Objects and juxtapositions provide a fun, simple and harmonious universe where play mixes with beauty and perfection, and where delight, serenity and the beautyfull are in focus. Colour and texture are put together in a simple graphic form which gives an animated, dreamy and almost unreal expression.."

Educated in 2009-12 at the Danish Design School/ Royal Danish Academy of Fine Arts Schools of Architecture, Design & Conservation, Bornholm. Product design for Kähler Ceramics 2013..

PERNILLE PONTOPPIDAN PEDERSEN - Plinth

She cultivates contrasts and seeks out areas of tension. "The ceramics are grateful in its tradition and history to deepen and perpetuate the culture to new dimensions. The tradition gives much substance to work with to build contrasting works that grow on ceramics tradition, but move it toward new directions. - Challenging the work practices and cultivating the final object with its errors, or non-error.."

Born in May 1987. Educated in 2012 at the Royal Danish Academy of Fine Arts Schools of Architecture, Design & Conservation, Bornholm. EXHIBITION 2013: 'Software & Glorified Ingratitude' Copenhagen Ceramics.

ALIKKA GARDER PETERSEN - Movements & Moments

"My overall concept is to work with space, light and material. All places effects these three elements much in the bodily experience of a place and space. It is in the shape that angles, definition of space, color, light/shadow surfaces, material clash at once define a space and give it tactility. This I have translated into my primary material, porcelain. "
Born in 1971 - Educated in 2003 at the Danish Design School, glass and ceramics (1 ½ years - interdisciplinary). INSPIRATION from travel and residency: Japan - lectures and tutorial at Osaka University learned lacquer work, Nepal - inspiration, material, peace, ethics, London - work in paper, Oxford - light objects by Margerite O'Rocke UK...

Each exhibitor has described their personal concept and basic philosophy and answered the questions: - What is different from your previous works?.. Unique, new and surprising?.. Interesting for the viewer?.. Inspiration, origin and originality?.. Material and technique? - 10 significant professional events..?

THEIS LORENTZEN - Animated Abstractions
The project is based on a module system of shapes and colours that can be stacked and linked together like building blocks. They are simple parts, when put together turn into a complex unit.
The objects are characterized by movement and flow, stiffened, fluid motion, chopped up into pieces, a 'flow' in stop-motion. A dissection of nuance and modulation shape and colour - perfect, nice and flawless, without a trace of real life trivial difficulties. The beauty of a synthetic 'Disney fixation'.
The colours are kept within a limited palette and runs in a fine graduated scale, with only a small leap of valour and tone, they are delicate and gentle, harmonious and balanced. Likewise with the forms that are variations of the same simple geometric element, a cone, varying in size, angle and cutting.
The new pieces are an extension of my previous works, but differ in that I bring more colours into play, creating more dynamic objects and remove references to the function. The works consist of many more smaller elements in many more colours. Single elements are more inclined and in varied sizes, allowing more dynamism. The new works hang or lie down with very small contact points, giving a light and airy look. They are in stained unglazed porcelain and do not have a back side or bottom, and thereby allowed to be placed in different ways.
I have explored numerous possibilities for combinations and variations how the object is constantly changing, shifts slightly compared to the previous one and gets its own personality. I have strived to achieve harmony and balance between the parts, yet also cause it to be dynamic and moving.
- My project is also interesting by virtue of the choice of materials. The texture in the matte and monochrome materials, combined with the fragmented design language, offers a special atmospheric, dreamy and almost unreal expression. Coloured porcelain is seen most commonly for functional objects, It is new to use these qualities for non-functional exhibition objects.
- The pieces are form studies, a play with and study of form, colour, mood and intuition. They create a universe, an amusement park or a dreamscape, and is mainly just to be experienced, seen and enjoyed - the subtle colours and shapes, gradients and tones.
- My inspiration comes clearly from playing - a play with beauty and perfection, harmony and balance - a play with construction and structure, complexity and simplicity. I create a fun, informal and animated world with inspiration in the digital and the mechanical, axles and crankshafts, graphs and charts, but in a simplified, distorted and surreal way.
- Casting in stained porcelain slip fired to 1260°C and then water polished and epoxy glued.
Graduated from The Danish Design School, Bornholm (ceramics) 2009-12 (The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation). Kerteminde Art School (ceramics) 1998-99, Nic. O. Schmidt bronze foundry in 1999, Precious Foundry Francois Deletaille 2000-2007 .. SELECTED EXHIBITIONS school projects Grønbechsgaard 2010/12 and Formland 2011 Graduation Exhibition Bornholm Art Museum and School of Library 2012; Upcoming Designers (Formland) 2012 .. ASSISTANT A.Tophøj 2012 (Elitist Folklore - Copenhagen Ceramics), Ole Jensen 2012 (Form & Fantasy), Anne Tophøj & Steen Ipsen 2011 (Extrudox A/S - Ann Linnemann Gallery) .. TEACHER Danish Design School, Bornholm 2012-2013, Kofoed School and AOF 2013; - EMPLOYEE Ditte Fischer 2013 Product design for Kähler Ceramics 2013 ..

PERNILLE PONTOPPIDAN PEDERSEN - Plinth
The podium is dominant in the work. What supports and elevates the work, makes the work what it is. Art is elevated objects. Raised on the podium in the given white space occupied by the viewer in almost ceremonial matters. Pure white podiums revealed in the spotlight elevates an unthoughtful immediate ceramic lump that does not deserve exaltation. I want to search for dialogue and contrast between the podium and 'the piece'. The viewer must unconsciously decide which of the objects deserves exaltation. The institution's control is supported in the podium's purity, order and structure - whereas the art's devilish, overstated, emotional and uncontrolled is symbolized in a lump of clay made in rapid chaotic movements with the intention to provide randomness and an uncontrolled object.
In my previous works, I worked a lot with a synergy of the anti-aesthetic through a wild mix of form, color and materials. In my exhibition at Copenhagen Ceramics, there were different expressions brought together in an attempt to achieve harmony in diversity. The works for this exhibition arose from a new idea and thought of letting ceramic plinths be the mainstay in the works. I have previously used ceramic plinths in my works, this time I let podiums be the dominant element in the works.
- I have in my work always used many different materials and colours. This time I made the conscious decision to keep it colour neutral in glaze and type of clay. I have instead allowed the different types of clay within a colour tone create the surface of the pieces. It is new for me to work in a prettier and cleaner appearance. I wondered if I could obtain my expression, in the new pieces.
- It is entirely up to the viewer whether my projects are of interest to the outside world. I carry out my projects for the simple reason that it is a great joy for me, and I also have views of the heart I would like to share with those, who are curious about my art. I would say that my art will be interesting to the world in that I work with this material with an immediacy and honesty. I want to place ceramics as art. Want to create this without some innate prejudices and fixed patterns. I dream of having the ceramic art world taking itself seriously as an art form. The fact that it moves away from its present stance; an inferiority wasteland between arts and crafts.
- Distance to the world and the city mentally and not necessarily physical. Escapism. Contrasts between rich and poor, between ugly and beautiful. A visit to Lidl to inspect the poor quality and cultivating aesthetic, or lack thereof. Knowledge of hazardous materials and their properties in ceramics. I get excited when I discover some new values of ceramics materials. I want to find new characteristics of materials used in the traditional manner. Using Danish blue earthenware to create an idiom in the same way as that managed the glaze, with the use of its plasticity in the modeling process. Creating a roaring whirlpool of foam using crushed glass jars. All materials undergoing a transformation in the kiln and turn out surprising after cooling down gives me an impetus to continue to create.
- The pieces are based on materials in various types of clay, this time the white clays. Porcelain, white stoneware, earthenware, white charmotte, dog hair, icing, crushed glass.
Born in May 1987. Graduated in 2012 at the Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation, Bornholm. EXHIBITIONS 2013: 'Software & Glorified Ingratitude', Copenhagen Ceramics DK; 'Terres - Copenhagen Ceramics Invites', Galerie Maria Lund, Paris; 'Good Bones' - juried exhibition for young artists, Copenhagen City Hall, - 2012: 'Edge/Kant', Exhibition Building KADK, 'SiO2' Graduate exhibition KADK on Bornholm Art Museum and Designer Zoo, Copenhagen; 'Bornholm Juried Spring Exhibition' Svanekegaarden, 'Process' Grønbechsgaard, Bornholm ..

ALIKKA GARDER PETERSEN - Movements & Moments
Alikka Garder Petersen sees his work for the exhibition as a study of material and space. She shows two different groups of works: one is small panels to hang on the wall. The objects are mainly soft, but tension curves are formed by a play with the illusion and a flexible element within a stated frame. Just as the previous 'peek boxes' is here created a snapshot of a story/process. Something has happened prior to the freeze, and you can form ideas about what is happening next. Words a colleague said on them: graphical, aesthetic, calm but dynamic, humorous.
The other group is an enlargement of the flexible element partially freed of the frame. Still a play and investigation of space and curves working with boundaries and the respect for the material, porcelain. All objects are simple in coloured castable. To add excitement, a humorous commentary on an otherwise aesthetic form, is added either a hard yellow glaze or elements of wood, playing against the porcelain.
This process has been very experimental. Distinct from earlier, starting point has been physical 3D sketches on paper. I have transferred some of the paper's potential and quality for design. Transferred to porcelain, I have technically a very short time for the design itself. Therefore, the final forms are much more spontaneous and immediate.
- The surprise is to evoke the illusion of making a hard material soft and flexible.
- The interesting is presenting the viewer to my choice of freeze in the process/movement. Give the viewer a version of how I experience space and material.
- My inspiration is a study of space and utilization of this in paper. A sketch of light and shadow, space, inside and outside the frame. Originality is the transfer from one material to another in one, amusing consistency between the two materials and a respect and understanding for the materials paper and porcelain. The finished works are the originality the easy and humorous tale this frozen image of a process tells. Last but not least an understated combination of materials.
- Materials are coloured clay castable, glaze and wood. Since leaving school, I have been deeply in love with moulding technique with all that is involved. Plaster's precision with very thin edges, - porcelain together with light. I have developed my own techniques with plaster and castable that makes my designs freer.
- My goal is always shaping on the terms of the material, so that the material qualities show. Simplicity, honesty and contrasts are the means of expression. The moulding materials give some limitations that create the framework for the design which I love and can continue to explore and push to the limits.
Born in 1971 - Graduated in 2003 at the Danish Design, glass and ceramics (1 ½ years - interdisciplinary)
INSPIRATION from travel and residency: Japan - lectures and guidance Osaka University taught laquered, Nepal - inspiration, material, peace, ethics, London - work in paper , Oxford - light objects Margerite O'Rocke UK ... SELECTED EXHIBITIONS 'Biennale for Crafts and Design' 2011, the Danish Arts Foundation buy three lamps in 2010; 'Dina Vejling' Odense 2009; 'Hovdala Slott' Hässleholm, Sweden 2008; 'Solo Exhibition' Officinet, Copenhagen 2007; Biennale for Crafts and Design 2007; 'Light' Damhuset, Lyngby 2007; Represented in Gallery Nørby 2005-06; 'Biennale for Crafts and Design' Trapholt Art Museum and North Jutland Art Museum 2004.

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THROWING THE CASE... Theme II - young talents
Ninna Gøtzsche, Marie Torbensdatter Hermann and Kirsten Høholt

Exhibition 6 February - 1 March 2014
Opening reception Thursday, February 6 at 16-19.00
Artist Talk: Thursday 20 February at 17-19.00

The Craft in Art and Art in Craft - Applied Art and Ceramic Contemporary..
This themed exhibition of young talent shows work by Marie Hermann, Ninna Gøtzsche and Kirsten Høholt. They work in unusual ways with hand-thrown forms and traditional craftsmanship.
They were born the same year, work internationally and studied in England.
Their conceptual standpoints with reference to crafts come into play and create dialogue on new ways of relating to everyday utilitarian objects, function, ceramics and pottery tradition.
This exhibition shows hand-thrown forms as a concept – craft in contemporary art.

KIRSTEN HØHOLT was educated in England, combines drawing and ceramics in personal tactile images on hand-thrown utilitarian objects. For the exhibition, she decided on the thrown plate, wall objects in bright colors and delicate lines.
MARIE HERMANN was educated in Denmark and England, now living in the USA, working with still-life and formative juxtapositions in everyday scenarios. She throws or hand-builds depending on what technique makes sense for her idea.
NINNA GØTZSCHE was educated in Denmark with studies in England, expresses herself in clay, tells stories of shape, material, idea and immersion. Her new work Uncultured Breakthrough is inspired by vases from the Royal Copenhagen Porcelain Factory.

Photos of earlier works by - Kirsten Høholt - Marie T Hermann - Ninna Gøtzsche:

Each exhibitor has described their personal concept and basic philosophy and answered the questions: - What is different from your previous works?.. Unique, new and surprising?.. Interesting for the viewer?.. Inspiration, origin and originality?.. Material and technique? - 10 significant professional events...

KIRSTEN HØHOLT – www.kirstenhoholt.dk
"My overall concept is combining drawing and ceramics.
For this exhibition I have chosen to use the plate, because it is a good format to draw on, and the 'platter' is a funny thing.
It is one thing to draw on paper and frame it. This is to touch, - a tactile drawing.
Drawing means a lot to me. Playing with image metaphors. I simply like to draw, and I like to make pottery. I have chosen to use a hand-thrown shape, because I want to create as much life as possible.
- I am working now with motifs directly onto the clay.

Previously, I have worked on paper and transferred the decoration to the ceramic object in a last firing. The paper drawing, I had printed in ceramic colour, I then transferred to the glaze fired ceramics as a children's tattoo, before the last firing.

- This time I have thrown myself into deep water. It is 'one shot' and you can not move things around. It is not a design process, but very direct. Layer upon layer of colour, scribble and print. I am now much more down into the layers, whereas the other just like remained on the surface.
- It is like a little 'photograph' from my brain. It is hard sometimes to be part of the drawing. - Why did this come into the drawing?. Sometimes there is something, I do not want to see - but it was there. Where did the motive appear from? Things in the drawings come from different places that I know when I see them drawn, but may not be aware of when I draw them. Therefore the motives also surprise myself.
- I want it to make people smile. Something positive and some comments - without being political or point a finger. I hope for familiarity, informality.
- My paintings are everyday ruminations, little thoughts and conversations .. I am thinking of words, phrases, metaphors, sounds, clear and messy impressions distinct stories - and feelings.
- Hand-thrown, porcelain slips - painted, drawn, mono-print, transparent glaze, photo decals. Fired 2-3 times at 1000-1260 C."
Born in 1979 - Graduated from Bath Spa University (ceramic department) Somerset UK 2000-04. Participated in 'Network Europe', International Ceramic Centre DK 2004. - POTTERY TRAINING at Mark Smith Derbyshire, England 1999 and Ann Linnemann studio, Copenhagen 2000 - MEMBER of the Danish Arts and Crafts Association from 2012 and the studio Formateket since 2008 - SCHOLARSHIP Obel Family Foundation 2002 - EXHIBITIONS 'New Designers', London 2004; Jug Exhibition, Blaze, Bristol 2006; 'Formateket' 2010 and 'Masterpieces' 2013 Ann Linnemann Gallery, 'Young Danish ceramics' Gallery Rasmus 2009; 'Network Europe' International Ceramic Museum - Grimmerhus 2005.

MARIE TORBENSDATTER HERMANN
www.mariehermann.dk
"Over the last years I have worked with a series of Still-Lifes where I investigate formative juxtapositions through functional, tactile and stylistic associations.

The pieces are a kind of aesthetic scenarios which seek to bring attention to the transient everyday scenario, that you can find on the shelves and tables in the kitchen and bathroom. But in my pieces functionality has been taken away to highlight the formative relationships and the qualities in the everyday object that lies beyond the purely practical.

- I hope for a dialogue between the pieces, the viewer and the everyday object.
- Everyday life and our relationship to the objects we live with. Still-life of a moment where two objects meet.
- I work in stoneware and porcelain, hand-throw and hand-built depending on what technique makes sense for the given work. I use wood, yarn and other materials."
Born in 1979 - Graduated from the Royal College of Art, MA, London 2007-09, University Of Westminster, BA Ceramic, London 2000-03; - SOLO EXHIBITIONS 2013 Galerie Nec, Hong Kong - A Gentle Blow til Rock, Re: View gallery , Detroit, USA, at 2012 Galerie Nec, Paris - France, 2010 Stillness in the Glorious Wilderness Matin Gallery, LA, USA, 2009 To the Legion of the Lost, Sixpm, project space, London, UK; - FUNDS the National Danish Arts Foundation - Annie and Otto Johs Detlef 'travel grant; - COLLECTIONS Denver Art Museum, USA - Nordenfjeldske Kunstindustrimuseum, Norway - Sevres Museum, Paris.

NINNA GØTZSCHE - www.formuleret.dk - Uncultured Breakthrough
I develop and experiment my ceramic languages all the time and am concerned with how form, idea and material converge into Arts & Crafts.

With my pieces I try to tell a story, a ceramic story. It is not told with recognizable images and signs but with shape, material, idea and immersion. The language of the story, I find in the maze of history and experience and by hearing others' versions and visions. I express myself in clay.

- Uncultured arose from a desire to do something gross and not so nice. The clay is thrown thick, afterwards I cut into it. Uncultured Breakthrough is carved throughout. Inspiration is the penetrated vases from Royal Copenhagen, but my version is different. They are crude and the material bulk. Something is hiding behind the breakthrough, you can glimpse something lighter and softer.
The hand-thrown form is destroyed, while there is no doubt about the background in the functional. Precisely because it is the hand-thrown form in the fine porcelain, that has been chopped into, it is uncultured.
- I wanted to do something rough, something that describes life's not so pretty sides. But where the rough is nicely wrapped in a fine ceramic glaze. With Uncultured Breakthrough I have gone one step further and left something behind the coarse within the rough.
I have always worked ahead with the thrown forms, once they have left the throwing-wheel. Sometimes it has been by pushing them, sometimes by cutting and assembling them back together. With the series Uncultured, I am working more roughly and less harmonious and neatly. I hand-throw the shapes thick, then I jag and cut them. I even cut completely through them, so you can see what is hidden inside.
- Porcelain is a material traditionally for making perfected objects. I take the fine material and do something rough and uncultured to it. It is the destruction of the hand-thrown form and the very fact that it is the functional form, that makes the destruction tend to be stronger.
- I show, that in the fine material, porcelain, there can be created a rough, hard expression. It is also a destruction and renewal of the hand-thrown form and the tradition of perfection. Destruction because I deliberately target the unsightly. Renewal because I have yet not left the functional - things can still be used. To show the rough, the unsightly on a hand-thrown functional form, makes the artistic expression strong, because it is surprising this way.
- (Inspirational) Uncultured / Messy. Belching / Slanderous. Coarse. / Raw. Ugly. Uncivilized. / Uneducated. Inelegant. / Awful. Disorderly. / Sloppy. Thick. Foolish. / Grim. Swagger. / Immature. Improper. Unfinished. / But with a nice yellow glaze.
- The pieces are made of thick, hand-thrown porcelain, which I cut and chop up. Uncultured is made of several thrown parts that are put together. - Glazed with a green glaze and fired to 1280 C."

Born in Lemvig, 1979. Educated at the Glass and Ceramic School on Bornholm 2001-04. Assistant at Julian Stair, UK 2004-06; Pottery Diploma School, Sønderborg 1999.
SELECTED EXHIBITIONS - 'SOFA Chicago' Cultural Connections, USA 2013; 'Collect' Saatchi Gallery, UK 2013,12,11,10; Ceramic Art London, Royal College of Art, UK 2013,09,07; 'Ætlinge' (solo), Officinet Kbh. 2012; 'SOFA New York' 2012; Functional, The Leach Gallery, Cornwall, UK 2010; 'Talente' München, DE 2009; 'Clay 08' SAK, Svendborg; 'The Rising of Danish Studio Pottery' Brewery Arts Centre, UK 2008; Salt Gallery (solo), Cornwall, UK 2006; - GRANTS: Danish Crafts 2013,12; National Danish Arts Foundation 2012; National Banks Anniversary Foundation 2012,11; L.F. Foghts Fond 2012,04; Kulturudviklingspuljen, Aarhus 2012,10; Det Reiersenske Fond 2004.

CLICK PHOTO = LARGE format + slide show

A COLLECTOR'S HOME
Exhibition 1 – 23 DECEMBER 2012

Exhibition full of ceramic pieces - ceramics lovers & collectors dream.

CLICK photo = LARGE format + slide show.. MORE IMAGES WILL FOLLOW..

MOVEMENT..
Asger Kristensen, Lone Borgen and Stephen Parry UK
Exhibition 6 - 29 March 2014
Opening reception Thursday 6 March at 16-19.00

Experience pieces encounter with the past and present - movements..
The exhibition focuses on established ceramic artists working with form, material and narrative in a very personal and ever reflective development – moving, meaningful and personal ceramic pieces.

Asger Kristensen exhibits elusive ceramic objects in clay and glaze, describing the contradictions in the meeting between concrete form and abstract structure - the sensitive and sensually discovered.

Lone Borgen shows with her British colleague Stephen Parry collaborative pieces, moving from the traditional vessel into an abstract dreamy storytelling world, - layer by layer revealing their personal and artistic dialogue.

ASGER KRISTENSEN - The tree's life cycle
"Small tales about the tree's life cycle, its birth, growth, decay and renewal - a good metaphor for the human life cycle.

I have worked with modelled trees for hanging on the wall. They are painted with clays that give them vigour and delicacy in the matte off-white surface.
In the same technique I have, for other objects studied this minimalist expression. In contrast, I have worked with more colourful objects where the glazes are allowed to unfold on built structures of rolled clay sticks, wrapped with gauze soaked in clay. It has been interesting to examine what happens to the form when the construction is wrapped with a thin cotton fabric.

My overall concept has been trying to put stories into my work, which is about general human condition, but also to a large extent the difficult transition I have been through the last few years, confronted with 'the big question of Life'.
Compared to my previous works, I now have a greater focus on the story. Some of my pieces have an unusual simplicity, which perhaps is about daring.

My inspiration is nature, especially the tree and the symbols in it, but also the physical/organic, almost human forms. (Hans Christian Andersen's fairy tale)
It may be interesting for the viewer to try and find what the point is with these a bit subtle objects.

Stoneware and clays fired to 1280 degrees. The objects are modelled and extruded tubes that are composed. Some objects are painted with clays and stay raw and dry, while others are glazed - in many cases with multiple layers of glazes, and sometimes they have to be glazed and fired repeatedly."
Born in 1951. Educated at the Arts and Crafts School, Kolding 1980-1984. Own workshop since 1985. - Teacher at the School of Applied Arts/School of Design, Kolding 1992-2004. The Danish Arts and Crafts Award of 1879 in 2000. - EXHIBITIONS Gallery Nørby Copenhagen, Scottish-Gallery, Edinburgh, Barn Galleries' Collect in the Country 'Aston UK, Gallery 55' Bogense, 'Large Formats' SAK Svendborg 2012 Gallery Pagter 'Ceramics' 2010, International Ceramic Museum, Grimmerhus DK 2007 ... - ARTIST-IN-RESIDENCE National Danish Studios for Arts 2009/2010, Anne Grete's House in Provence 2011-2013/2014 - Neue Keramik, magazine articles 2009-2011 REPRESENTED in several collections - Danish Arts Foundation purchased a vessel for the Rigshospital. Member of BKF, Danish Arts and Crafts Association and The Danish Sculpture Community.
www.havlitstentoj.dk - blog: www.asgerkristensen.tumblr.com

LONE BORGEN DK & STEPHEN PARRY UK - by Stephen Parry
“First our work tells the story of a coming together of two artists working and living in different surroundings and countries.
Second, as a series of pots which are designed to drawn the viewer into a world that can be beautiful, but at the same time awkward and sometimes disturbing.

The beauty but also the danger of reptiles and insects have always fascinated me. My father was a Cambridge zoologist, and I was brought up in a house full of books, with beautiful illustrations of spiders, snakes and many other creatures, sometimes even the real thing!
We have used some of these illustrations in our new work alongside images of doors, window, old sheds, and other familiar objects which we all see every day, but at the same time don’t notice.

Although we have been making our collaborative work for some years now, our work never stands still; it is a continual dialogue between two artists never compromising, always embracing each others ideas and inspirations. We have used this exhibition to express some of our early experiences and influence.

I feel that collaboration between two people – in our case two very different personalities coming together, is bound to result in some unique and extraordinary work.
In this work we have looked back at our first passion for ceramic, which includes Greek vases, and Japanese Oribe ware, but with the experience and that we’ve gained in our life’s since.

Its always difficult to know or predict what others will see in our work, but I would like to think that the viewer is drawn to our work first by the form, which is familiar and safe. When drawn closer; through our use of ceramic transfers, our intention is to immerse the viewer into another world. One that is intended to create emotion.

We started our ceramic carers in a similar way; In England in the 70’s, when the Leach studio pottery movement was at its height. Since then our work has taken very different directions, in two different countries.
My own work is much more involved with the material and process. By using kick wheels and wood firing, there is a fine balance between control and allowing the clay and fire to give its own life to my work.
Where as the strength in my work come from subtlety and under statement. In Lone’s work there is no holding back, daring, experimental, expressive are the words that come to mind.
To be able to recognise each other’s strengths, and work together can result in some exiting pieces.
Our work is thrown using stoneware clay then glazed with a mixture of glazes that are layered over each other.
The work fired to 1180 c for a long time sometimes over 20hrs, allowing the glazes to merge into each other and run down the pots. After the glaze firing two types of transfers which we make ourselves are applied, digital colours and laser print transfers, also gold lustre, then pots fired again.”
Collaborative work started in 2006 - EXHIBITIONS Gallery Clifford Daugaard 2008, Gallery Uggeby Lønstrup 2009, Naunehøj Mølle Grenå 2010, Orangeriet Interiør, Espergærde 2012-2013, Fra sans til samling, Erik Veistrup Danmarks Keramikmuseum 2012, Galleri Noerballe Augustiana 2012.
Lone Borgen has a studio in Aarhus Denmark, was educated at Croydon College of Art England 1976 and exhibited same year at Ceylon Tea, London. After eight years residency in England, she established her own studio in Denmark in 1977. Has worked as a guest teacher and lecturer at the Kolding School of Art and Design (Kunsthaandvaerkerskolen). Studies in Europe and artist residency in Mexico 1982-83 and Kenya 1997. GRANTS and AWARDS Ole Haslunds Fond 1986, Statens Kunstfond 1977 and Aarhus Town Council 1997. Since 1978 Member of the Danish Arts & Crafts Association (Danske Kunsthaandvaerkere).
Lone Borgen's own work include wall commissions, fountains and functional ware.www.loneborgen.dk
Stephen Parry was born in Scotland, has since 1981 a studio ‘Ryburgh Pottery’ in Norfolk making wood-fired stoneware and porcelain pots. Trained and worked at Owen Watsons pottery, France 1970 - Studied ceramics at Croydon College of Art 1974-77, student at Dartington Pottery Training Workshop under Starkey, Casson & Leach 1977-78. Worked and taught at Dartington Pottery 1978-79.Part-time lecturer at Southend College of Art 1980-85 and Camberwell College of Art 1981-01. Professional Member of the CPA 1995. Commissions 2005 The Rocket House Museum, Cromer (5 tile panels). Stephen Parry’s work is sold throughout the UK in shops, galleries, exhibitions, & his own showroom in Norfolk. He has also exhibited in Germany, Holland, Denmark and Japan. www.spwoodfiredceramics.co.uk

A COLLECTOR'S HOME - December 2012

EXHIBITION CALENDAR 2013

CENTRED - January February 2013

MASTERPIECES miniature - March 2013

3D PRINTED POTS - Exhibition April-May 2013

TEMPERAMENTS - Exhibition May-June 2013

ORIGIN - Exhibition June-July 2013

ENTROPIC TOPOLOGY - Exhibition August 2013

ARCHITECTONES - Exhibition September 2013

INTENSITY – Exhibition October 2013

CERAMIC CONCRETION - November 2013

FRAGILE - Exhibition June 2012

BEHOLD - Exhibition July 2012

STATE - Exhibition August 2012

A COLLECTOR'S DINNER - December 2013

EXHIBITION CALENDAR 2014

LIGHT & SHADOW Construction - January 2014

THROWING THE CASE... February 2014

A COLLECTOR'S HOME - December 2012

MOVEMENT.. Exhibition March 2014