GENTRIFICATION August-September 2015

August 5, 2015, 4:03 am

≫ Next: TIME & SPACE - Bodil Manz - April 2014

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GENTRIFICATION - Vibeke Rytter DK
Exhibition 20 August - 19 September 2015
Opening reception on Thursday 20 August at 16-19.00

The urban space - city-architecture in a ceramic installation
The exhibition leads the viewer from the city planner's registration and drawing of Klondike urban areas, diagrams and transformation ideas into an installation of new ceramic pieces where Graffiti and Street Art are important sources of inspiration.
The project provides insight from the processes of architects to ceramic material.

Urban structure in the concept of gentrification is a term for socio-cultural transformation that is taking place in areas where street art and graffiti has inspired architects and planners.

The computer animated pieces are technically made in 2D drawing for ceramic 3D-forms with images from digital pixel-photos and drawings transferred into ceramic colour transfer fired into surface.
Vibeke Rytter's core area is clearly defined by her interest in architecture, design, photography and material, also due to interdisciplinary education and many journeys have given her the desire to develop processes crucial to the finished pieces' expression.
Vibeke Rytter graduated from the Danish Design School, ceramics & glass 1986-90 and the Royal Danish School of Architecture in Copenhagen 1997-04.
In 2001-02 she was a guest student at the Academy of Fine Art by Professor Morten Stræde, - and from 2011 conducting a research project 'Glazed Lightweight-Construction Components' at the Danish School of Architecture and the Technology Institute.
She has received several travel and work-grants from the Danish Arts Foundation, Beckett Foundation and National Bank Jubilee Fund. She has travelled and studied in the United States, Cuba, Russia, Greenland, Iceland, the Faeroe Islands, Italy, Tanzania ... - and participated in several exhibitions in Denmark and abroad.

THANKS TO: - DANISH FUNDS - LINK
Danish National Arts Foundation Project Award - Gallery 2015
Danish National Bank's Jubilee Foundation - Gallery 2015

GENTRIFICATION - Icon, Track, Signature, Label
by Vibeke Rytter - www.vibekerytter.dk
””SUBCULTURE spontaneous signatures are just fluid and always moving on, and can therefore act as sniffer dogs running ahead to 'sniff out' development potentials and as a voice and characters from the street. They have an ability to chalk up the stage for the further development and creation of identity in a neighbourhood or area.
Graffiti is tied to the urban space, its surfaces, walls and exposure opportunities and are in constant motion in cancer that layer and paint that forms a game between space-creating and spatially resolving elements. - It’s a reserve, waiting to be involved in the system; a vacuum value. -

URBAN GENTRIFICATION can change the culturally diverse nature of a society to a more economically homogeneous community.
I have zoomed in and analysed parts of urban areas where Klondike structures and graffiti have left its mark, for example in Copenhagen and Berlin, looked closely at the existence and formed my own interpretation.
I want through my expression to mark a kind of sampling/modelling across various circles of society – show cultural diversity, many world views and ways of living.

MY WORKING METHOD is in four layers: room/architecture, reflection, context and process. I establish a function between space and material, while leaving a trail. I build it up and leave something behind in order to visualize the construction’s structure through stacking, bending, fusing, covering, hollowing out, etc. I build up, break down and recycle in order to go in new directions. The reverse side and front side circle in my mind to understand the thing’s creation and problems.

MY INTENTION is to get the material to be part of the story where the mode of expression is free and dispersed to open up to the outside world, while giving substance and content.

I WORK IN THE AREA BETWEEN SPACE AND OBJECT - from 2D drawings to 3D model representations in clay slaps that are fired several times and finally combined with images in the form of ceramic transfers and fired.
I have experimented with 3D computer drawings followed by CNC milling.”

PREVIOUS PIECES:

VIBEKE RYTTER - BIOGRAPHY
Born 1967 in Roskilde, Denmark
Lives and works in Copenhagen and Lejre Denmark

EDUCATION
2011.. Predoctoral Research “Glazed lightweight building components”
1997-04 Royal Academy School of Architecture - Copenhagen
2001-02 Academy of Visual Arts, visiting students w. Prof. M. Stræde.
1986-90 The Danish School of Design / Ceramics & Glass.
1985-86 Studio drawing at the Glyptotek w. Askov Jensen

GROUP EXHIBITIONS
2015 Uban Gentrificering - solo Ann Linnemann Gallery
2015 Herning art messen 2015
2014 Form Language - Ann Linnemann Gallery
2014 International Biennale Vallauris
2013 Biennalen Rundetårn
2012 Den Frie Exhibition Building
2010 Gallery Gl. Lejre
2006 Charlottenborg Spring Exhibition (Ceramic installation)
2006 Cross Over
2004 250 years – Tradition’s Potentials (Traditionens Potentialer)
2004 Charlottenborg Spring Exhibition (architecture)
2002 Charlottenborg Spring Exhibition (sculpture)
2002 Sculptfiction Pakhuset
2002 The Royal Danish Academy School of Visual Arts
1997 Vejen Art Museum
1997 Tactus – How do we eat (Hvordan spiser vi)
1997 Sofienholm Danish Ceramics 1850 – 1997
1996 Gallery Vromans, Amsterdam
1995 Sofieholm Danish Design Today (Dansk Design Aktuelt),
1995 The ceramic room – bathroom, Gallery Nørby
1994 Marienlyst Slot Kanden
1994 Danish Ceramics Triennale, Trapholt Art Museum
1993 Charlottenborg Spring Exhibition
1991 Charlottenborg Spring Exhibition
1990 Rundetårn
1990 Gallery Sct. Agnes, Roskilde
1990 Philosopher passage, Odense
1990 Artists’ Autumn Exhibition, etc.

ART IN SPACE
2008 Kubik artist group w. L. Desmentik sculpture in Nørrebro
1989 Sculpture /Installation at Roskilde Festival

COLLECTIONS
1995 Universal Jug sold to Designmuseum Copenhagen, Denmark.

AWARDS AND GRANTS
2014 Merchant L.F. Foght’s Foundation
2013 Aase and Ejnar Danielsen’s Foundation
2011 Becket Foundation
2007 National Bank Jubilee Foundation work grant
2006 National Bank Jubilee Foundation work grant
2005 National Bank Jubilee Foundation work grant
2004 National Bank Jubilee Foundation work grant
1996 Danish Arts Foundation work grant
1995 Universal Kande (Jug) sold to Designmuseum Danmark
1994 National Bank Jubilee Foundation work grant
Teapot competition at Kahler – 2nd prize
1993 National Bank Jubilee Foundation work grant
Thomas B. Thrige’s foundation
Artisan Prize bronze
1991 National Bank Jubilee Foundation work grant

STUDY TRIP
2014 Morocco
2012 USA
2010 Africa Tanzania
2009 Russia
2007 Greenland
2007 Cuba
2008 New York
2006 Faroe Islands
2004 Toscana
2000 Study Holland Mvrdv, Vest 8, OMA
1999 Study trip by Le Corbusier
1997 Iceland
1998 Study trip Berlin, Rome, Barcelona, Turkey, etc.
1990 France Aix en Provence 3 month’s works with ceramics

EMPLOYMENT AND OTHER ACTIVITIES
2013-15 Research project Glazed lightweight building components in collaboration with the
Danish Technology Institute. Grants - National Research and Innovation Agency
2008- Studio freelance architect
2008- Teaching/presentations
2011 Architecture at Arken w. Queen Margrethe exhibition “Colour of the Soul” “color soul”
2011 DR Radio TV Drama, Set Design Assistant on the TV series Borgen
2009 Participated in the architectural competition “Creative family homes”, Musicon Roskilde
2009 Architecture Photographer
2004-08 Freelance architect at Boligernes knowledge centre – BOLIUS own company
2005 Participated in an architectural competition in Trondheim Mindelunden DK
2005 Project for Stelton
2004 Project for Citrix Systems municipal merger, IT company.
2001 Work experience at Søren Robert Lund’s Drawing Office, as well as Tivoli
1995 Adviser for students at the Academy of Fine Arts laboratory of ceramics
1994 Design assignment for Roskilde Technical College

MEMBERSHIPS
LejreVisual Arts – with the Board / Vice President
Member of BKF

BOOKS AND CATALOGUES
2006 No. 10 Interview by Charlotte Jul, Kunstuff “Set the method and message free”
(Kunstuff “Set the method and the message”
2006 Art Panorama (Kunstpanorama)
2002 Danish Art (Dansk Kunst)
1997 The animal in clay (Dyret i Leret), Vejen Art Museum
1995 Danish Design Today (Dansk Design Aktuelt)
1995 Story of a Bathroom (En Badeværelseshistorie)
1994 The Danish Ceramics Triennale (Den Danske Keramiktriennalen)
1994 The Ceramic Jug (Den Keramiske Kande)

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TIME & SPACE - Bodil Manz - April 2014

March 24, 2014, 1:10 pm

≫ Next: EXHIBITION CALENDAR 2014

≪ Previous: GENTRIFICATION August-September 2015

CLICK photo = LARGE format + slide show

TIME and SPACE - Bodil Manz
Exhibition 3 April - 3 May 2014
(Closed during Easter 12-21 April)

Contexts - assemblage of ceramic pieces in time and space..
Bodil Manz has been called the Graphic Artist of Ceramic Art par excellence, whether she draws in a slender, delicate line as a personal signature, or uses coloured ceramic transfers in an infinite variety of richness.

For this exhibition Bodil Manz has identified new contexts, composed her known types of forms, images and ideas in a exciting assemblage together with new pieces.
The work expresses cultural reference and relates to places and times, reflecting a timeless sense of clarity.
Compositions, translations reveal her form and material curiosity, an analytical variance of ceramic materials and firings, - where each peace can be seen in the light of opposite philosophies. Yet her work binds together - in an indefinable sense of time and space.

Graphic lines dissipate the transparency of cylindrical shapes and create geometric plays of shadow that equal architectural built sculptures, in connection with natural raw organic sand casts where refined shades erupt through unpolished surfaces.
Refinement and elegance meet with a related series of angular shapes, brightly coloured lines and planes. The pieces' narratives condense a lifetime of work and reflect multiple contemporary expressions and inner visions reflecting a personal aesthetic, a sensitive sensual force and a sophisticated character of resoluteness.

Bodil Manz belongs to the international elite of ceramic artists represented in major museums and private collections worldwide.

Her work is characterized by a continual exploration and experimental activity, that among many other projects have resulted in wall installations, sand-cast porcelain pieces and architectural sculptures.
Bodil Manz masters the transformation of a geometric-abstract thoughts of mind from surface decoration to three-dimensional work.
She constantly challenges herself and the viewer of her work.

Bodil Manz is known for her subtle, abstract decorations on paper-thin simple forms. A detailed examination of transparent cylindrical and geometric shapes with fine colourful graphic lines and planes transforms surface decoration into three-dimensional pieces.
The cylinders, developed since 1990, are diverse in size and character, some smooth and others in relief applied decoration in coloured ceramic transfer prints that during the the firing process melt into the porcelain. The transparency of the thin vessels causes the exterior and interior decoration to combine into one composition, a magical image.

The paper-thin and transparent cylinders stand as a highlight, but throughout her career, Bodil Manz has experimented and pursued complementary challenges in expression and technique, working with the full range from her early years of expressionist works, studio and industrial production of objects to ceramic commissions and 'panels' in plaster and sand-cast porcelain.
She is a master of creating fragile vessels of personal strength, identity and poetry, and performs again and again with excellent results from new ideas and unusual aspects of her oeuvre.
Fragility and transparency are characteristics of some of the works, functional elegance and geometric ingenuity or sensual raw material and shapes contrast to others. In recent years, her constant exploration of the possibilities of the material has also resulted in the re-use of previous form elements combined and assembled into new sculptural pieces.

Bodil Manz comes from an Art & Craft's background and has maintained a close relationship to the ceramic texture and reference to 'the vessel', the container, but she has throughout a long and actively experienced life developed the tradition of function further into a unique sculptural and personal level.
The pieces express strength because of their respective character related to their creator, her passion and areas of interest, her curious ingenuity, technical methods and material knowledge.

In 2008 at the Design Museum Denmark (formerly The Danish Museum of Art&Craft), it was time to create an overview of the artist's rich ceramic career. The exhibition highlighted the full range of Bodil Manz' work from her early years of expressionist works to recent year's cylinders with geometric, abstract graphics, 'Transparent Zen'. Bodil Manz has for 40 years developed a mastery where the paper thin and transparent cylinders stand as one of the highlights. The exhibition covered her entire ceramic field from studio and factory production of everyday functional ware to ceramic commissions and magical one-off pieces.
She experiments and is still looking for new challenges in expression and technique from the panels in plaster, sand-cast porcelain and handmade paper for large geometric works.
"Artistic quality is always there when someone is truly passionate investigating something."
The quote is from an interview with Bodil and Richard Manz in 1993.
Publication of the book 'The Ceramist Bodil Manz' - New Nordic Publishing Arnold Busk, ISBN 978-87-17-03957-5. 230 pages, illustrated, Danish and English.

For the exhibition CUTS AND INTERVENTION: Bodil Manz and Bente Skjøttgaard at Copenhagen Ceramics 2012, Bodil Manz decided to examine her own ceramic history. She took apart her moulds used for previous works, recycled and reinterpreted these forms and tools for new pieces which were then assembled with new mouldings, as a kind of track of her workshop through time.

The exhibition FRAGILE in Ann Linnemann Gallery 2012 presented Bodil Manz' sets of cups with graphic compositions that was shining through the porcelain and magically revealed a new expression and tone for each new point of view. This exhibition also showed ceramic pieces by her Danish colleagues Jane Reumert, Malene Müllertz and Heidi Hentze.

Bodil Manz has travelled extensively since her graduation from the Danish School of Applied Arts in 1965, from the Escula the Disefio y Artesanians in Mexico in 1966 and the University of California, Berkeley in 1967, where she worked with the great American expressionist ceramist Peter Voulcos, to Bahrain, China and Korea.
After the meeting with Richard Manz (1933-99) at the Gustavsberg porcelain factory in 1967, they established a studio and collaborated on major commission assignments such as the Farum Swimming Pool (1978-79) and the National Museum of Bahrain (1987-88), and a production of utilitarian objects in porcelain and stoneware. Among the many awards she has received are the Thorvald Bindesbøll Award in 2001, Danmarks Nationalbank's Anniversary Foundation's honorary award in 2010, and in 2007 the Grand Prize, 4th World Ceramic Biennale 2007 Korean International Competition. She has shown numerous exhibitions in Denmark and abroad.
She is a member of the Danish exhibition group 'Ceramic Ways' and the International Academie de la Ceramique, IAC.

↧

EXHIBITION CALENDAR 2014

December 30, 2013, 8:24 am

≫ Next: LIGHT & SHADOW Construction - January 2014

≪ Previous: TIME & SPACE - Bodil Manz - April 2014

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, Inge-lise Kofoed 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 Inge-lise Kofoed mixes ceramic materials with oilpaint in her sculptural objects, 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...

↧

LIGHT & SHADOW Construction - January 2014

January 10, 2014, 9:17 am

≫ Next: THROWING THE CASE... February 2014

≪ Previous: EXHIBITION CALENDAR 2014

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.

↧

THROWING THE CASE... February 2014

January 24, 2014, 1:10 pm

≫ Next: MOVEMENT.. Exhibition March 2014

≪ Previous: LIGHT & SHADOW Construction - January 2014

CLICK photo = LARGE format + slide show..

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

Exhibition 6 February - 1 March 2014
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 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 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.

↧

MOVEMENT.. Exhibition March 2014

February 28, 2014, 9:27 am

≫ Next: Kirsten Justesen - SUN DROPS Sept-Oct 2015

≪ Previous: THROWING THE CASE... February 2014

CLICK photo = LARGE format + slide show of exhibition pieces..

MOVEMENT..
Asger Kristensen, Lone Borgen and Stephen Parry UK
Exhibition 6 - 29 March 2014

Experience pieces encounter with the past and present - in movement..
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.

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

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

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Kirsten Justesen - SUN DROPS Sept-Oct 2015

September 15, 2015, 3:09 pm

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≪ Previous: MOVEMENT.. Exhibition March 2014

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

Kirsten Justesen
SOL DRAABER/ SUN DROPS
Exhibition 24 September – 24 October 2015
Opening reception Thursday 24 September at 16-19.00

The exhibition shows a collection of Kirsten Justesen's works in clay..
LEAFS - DANCE WOMEN - HORSES - LIONS – STAGE OPENINGS - RIDERS
and SUN DROPS made at The Tommerup Ceramic Workshop in 2015.

Kirsten Justesen's activities comprise a wide range of genres, from body art and performance art to sculptures and installation.
Justesen was part of the avant-garde scene of the 1960s, where she became a pioneering figure within the three-dimensional modes of art incorporating the artist's own body as artistic material.
These experiments led her in the direction of the so-called feminist art which challenged traditional value systems during the 1970s.
Her later works constitute broader investigations of relationships between body, space, and language.

See more: channel.louisiana.dk/video/kirsten-justesen-my-body-my-gaze
www.smk.dk/udforsk-kunsten/kunsthistorier/kunstnere/vis/kirsten-justesen..
..The three dimensions are Kirsten Justesen's focal point from the imprint of the body in space, to the body at the pedestal and body in dialogue with the material such as hard, soft, cold, warm.
The artist uses her own body as a tool, discusses the relationship between object and subject.
It is not about the self-portrait or confession, but to use what is close by, at hand, and to set ones own body in play as a material or figure in line of the classical female sculpture. - The body as an icon..

Kirsten Justesen exhibits new works - yellow SUN DROPS in clay.
Solar drops are not tangible, but float so well in the air..
- How will they look like in the earthy material, clay?
- The challenge is vigorous, artistically free - and intriguing.
Clay has expressed many artists' visions, - and we look forward to this marvelous material transformed by one of Denmark's strongest female contemporary artists.
Tommerup Ceramic Workshop (3rd studio photo on top)www.keramos.dk

The exhibition also shows Leaves, Dance Women, Riders and Stage Openings
- ceramic elements from previous works and investigations.

KIRSTEN JUSTESEN - www.kirstenjustesen.com
Born in 1943. She currently lives and works in Copenhagen.
She attended the Royal Academy of Fine Arts, Copenhagen, Sculpture and Mural Department, and holds an BA in Art Theory.

She has been a visiting professor frequently lecturing at the departments of Art, Theatre and Language at universities and art schools in Scandinavia the USA, and the Middle East.
Rutgers University, New Brunswick USA, sup. professor at The Royal Academy of Fine Arts, Stockholm, 1994. BEZALEL The Academy of Fine Arts, Jerusalem and The Academy of Fine Arts Umeå, Sweden, Bergen and Oslo, Norway.

MEMBER OF The Danish Academy of Fine Art

CERAMIC BIOGRAHY
Kirsten Justesen has worked with clay in the studio of Ane Brügger, Laurbjerg 1965 (1st studio photo/top) and Birthe Weggerby, Jutland Art Accademy 1965-68.
The first ceramic exhibition in Gallery EXI, Odense 1964.

A number of large jars shown in Ulfborg Art Society 1965.
Ceramic sketches and preparatory work for the Katrine Commission in Hjørring was shown at the Køge Sketches and Vendsyssel Art Museum 1985.
The preparatory work was done at Bent Gunner Rasmussen, Mors.

Ceramic art commission KATRINE FROM HJØRRING Godthaab, Hjørring and Hjørring Hospital Chapel in 1986 was undertaken at the local brickyard.
Ceramic commission at Boholteskolen, Køge was carried out as a project in a number of primary schools in Køge area 1986.
Exhibited at Køge Town Hall 1986.

FAMA CONCERN, 51 oxidized stoneware figures 1996-97 was made at Tommerup Building Ceramics.
Deposited by The New Carlsberg Art Foundation at CLAY - Denmark's Ceramics Museum.
TRAVEL PIECES, stoneware, Copy-Dan 2000, Tommerup.

In addition, several ceramic public commission proposals.
Models for fountains includes Vendsyssel Art Museum.
She often uses clay as a sketching material.
TOP PHOTOS - 1. K.Justesen in the studio of Ane Brügger, Laurbjerg 1965.
2. Sculpting Lilibeth Cuenca Rasmussen, Nikolaj Art Gallery 2014.
3. Esben Lyngsaa, Gunhild Rudjord & K.Justesen, Tommerup 2015.

AWARDS & GRANTS
Anne Marie Telmanyi Award, 1991; The Danish National Art Foundation 3-year scholarship, 1994; The Ny Carlsberg Foundation Travel Scholarship, 1996; The Eckersberg Medal, 1996. Honoary grant from The Danish Art Foundation,1998. The Carl Nielsen & Anne Marie Carl-Nielsen Award 2002; The Anna Nordlander Award 2003; The Thorvaldsen Medal 2005 and holding an ISCP, New York Residency 2006.

PUBLICATIONS
ICE SCRIPT, Meltingtime #17, 2013; MY BODY IS MY TOOL, Randers Art Museum 2013; 64 – PURSUITS AND COLLECTIONS a female miscellany by Kirsten Justesen and other little women children born 1940-1945 in 2008; MELTINGTIME # 11 2003, MELTING IN TIME 2006; RE KOLLEKTION 1999, KORS DRAG 1999
Justesen has illustrated books, magazines, designed posters and a series of chasubles for Kapernaum Church in Copenhagen.

REPRESENTATIONS
Justesen is represented in private and public collections, including Statens Museum for Kunst /The National Gallery of Denmark; KUNSTEN Museum of Modern and Contemporary Art, Aalborg; The New Carlsberg Foundation; CLAY Museum of Ceramic Art, Denmark; The Art Museum Brundlund Castle; Museum of Contemporary Art, Roskilde; Theatre Museum at the Court Theatre; The Danish Art Council; Hälsingborg Art Museums; MAN Museum Anna Nordlander, Sweden; National Gallery of Czech Republic; The National Museum of Women in the Arts, Washington DC

Justesen has been working with SCENOGRAPHY at a number of Danish theatres and ballet companies since 1967. She established the Scenography Department at The Danish National School of Performing Arts 1985-1990 and has produced concept, production design and librettos in co-operation with the Randi Patterson Company.

As a CURATOR she has curated “Body as Membrane” together with VALIE EXPORT for Art Hall Brandts DK & Nordic Arts Centre 1995; “SKETCHES”. The Faroe Island's National Art Museum. “DIAMONDS“, première at City Theatre Usti nad Labe, Czech Republic 1997.

↧

GALLERY artists - collectables

March 1, 2015, 1:30 pm

≫ Next: HETERO & SEMIOTIC Oct-Nov 2015

≪ Previous: Kirsten Justesen - SUN DROPS Sept-Oct 2015

DANISH AND INTERNATIONAL CONTEMPORARY CERAMIC ART

COLLECTABLES
List of artists -
Available pieces
(Subject to change)

CLICK a photo = LARGE image + number of piece (last edit November 2015)

CURRENT EXHIBITION - CLICK LINK

Akio Takamori USA/Japan - www.akiotakamori.com

Alikka Garder Pedersen DK

Ann Linnemann DK - CLICK - see Design Pottery by Ann Linnemann

Ann Linnemann DK & Paul Scott UK - CLICK - see Landscape Blue & Body Blue

Ann Linnemann DK - CLICK - see Collectables by Ann Linnemann

Anne Fløcke DK

Asger Kristensen DK

Barbro Åberg DK

- sold

Beate Andersen DK

- sold

Bente Hansen DK

Bente Skjøttgaard DK

Better Lübbert DK

Bodil Manz DK

Charlotte Thorup DK

Christina Schou Christensen DK

Dorte Kristoffersen DK

Elisa Helland-Hansen N

Esben Klemann DK

Extrudox A/S - Anne Tophøj - Steen Ipsen DK

- sold

Gerd Hjort Petersen DK

Gunhild Aaberg DK

Hans Munck Andersen DK

- sold

Hans Vangsø DK

Heidi Henze DK

Helle Hove DK

Inge-Lise Koefoed DK

Jane Reumert DK

Jonathan Keep UK - 3D-print

Karen Bennicke DK

Karen Harsbo DK

Kim Holm DK

Kirsten Christensen DK

Kirsten Coelho AU

Kirsten Høholt DK

Kirsten Justesen DK

Kurt Weiser USA

- sold

Lea Mi Engholm DK

Lesley Baker USA

- sold

Lis Biggas DK

Lis Ehrenreich DK

Lisbeth Holst-Jensen DK

Lone Borgen DK & Stephen Parry UK

Lone Skov Madsen DK

Louise Birch DK

Louise Gaarmann DK

Louise Sidelmann DK

Malene Müllertz DK

Margaret O'Rorke UK

Marianne Krumbach DK

Marianne Nielsen DK

Mariko Wada DK/Japan

Martin Bodilsen Kahldahl DK

- studio

Mette Augustinus Poulsen DK

Mette-Marie Ørsted DK

Mikael Jackson DK

Mikael Jackson & Jens Rune Gissel - Heliotroper

Morten Løbner Espersen DK

- sold

Morten Modin DK

Neil Brownsword UK

- sold

Ninna Gøtzsche DK

Ole Jensen DK

- sold

Ole Vesterlund DK

Per Ahlmann DK

Pernille Pontoppidan Pedersen DK

Prue Venables AU

Samuel Chung USA

Sandra Davolio DK

Sophus Ejler Jepsen DK

Sten Lykke Madsen DK

Stephen Bowers AU

Søren Thygesen DK

Theis Lorentzen DK

Turi Heisselberg Pedersen DK

- studio

Ueda Mayu Japan

Ulla Bech-Bruun DK

Ursula Munch-Petersen DK

Vibeke Rytter DK

ARTISTS - Akio Takamori - Alikka Garder Petersen - Ann Linnemann - Anne Fløcke - Asger Kristensen - Barbro Åberg - Beate Andersen - Bente Hansen - Bente Skjøttgaard - Better Lübbert - Bodil Manz - Charlotte Thorup - Christina Schou Christensen - Dorte Kristoffersen - Elisa Helland-Hansen - Esben Klemann - Extrudox A/S Steen Ipsen/Anne Tophøj - Gerd Hiort Petersen - Gunhild Aaberg - Hans Munck Andersen - Hans Vangsø - Heidi Hentze - Helle Hove – Inge Lise Koefoed - Jane Reumert - Jonathan Keep - Karen Bennicke - Karen Harsbo - Kim Holm - Kirsten Christensen - Kirsten Coelho - Kirsten Høholt Kirsten Justesen - Kurt Weiser - Lea Mi Engholm – Lesley Baker - Lis Biggas - Lis Ehrenreich - Lisbeth Holst-Jensen - Lone Borgen & Stephen Parry - Lone Skov Madsen - Louise Birch - Louise Gaarmann - Louise Sidelmann - Malene Müllertz - Margaret O'Rorke - Marianne Krumbach - Marianne Nielsen - Mariko Wada - Martin Bodilsen Kahldahl – Mette Augustinus Poulsen - Mette Marie Ørsted - Mikael Jackson - Morten Løbner Espersen – Morten Modin - Neil Brownsword - Ninna Gøtzsche - Ole Jensen - Ole Vesterlund – Per Ahlmann - Pernille Pontoppidan Pedersen - Prue Venables - Richard Shaw - Samuel Chung - Sandra Davolio - Sophus Ejler Jepsen - Sten Lykke Madsen - Stephen Bowers - Søren Thygesen - Theis Lorentzen - Turi Heisselberg Pedersen – Ueda Mayu - Ulla Bech-Bruun - Ursula Munch-Petersen - Vibeke Rytter.. - Marek Cecula...

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HETERO & SEMIOTIC Oct-Nov 2015

October 15, 2015, 8:00 am

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HETERO
Per Ahlmann DK

SEMIOTIC
Colby Parsons USA

Two exhibitions 29 October - 28 November 2015

Danish and American contemporary ceramic art..
Per Ahlmann and Colby Parsons show ceramic sculpture and video on clay.
The Gallery opens a new exhibition space to present two concurrent artists working in opposite directions of contemporary ceramic art.

PER AHLMANN is acknowledged as a ceramic sculptor, so completely at one with his material, that idea, shape, glaze and colour can not be imagined without each other.

Form variations, often with references to the unreal, are linked to nature-like and bodily elements in contrast to industrial.
For the exhibition HETERO, new formal positions are explored by connecting different parts in an understated sensual-erotic narrative.

COLBY PARSONS explores abstract and textural qualities of video projection on ceramic wall objects.
A strong sense of materiality is enhanced by his choice of actual articles, personal objects from everyday life - shoes, glasses, watch, knife..
The projected video is a collage of stills and moving imagery depicting things and phenomena associated with the physical forms.
Artist talk C.Parsons - Saturday 31 October

HETERO - by Per Ahlmann DK - www.perahlmann.dk
"The word HETERO derives from Greek and translates to deviation, contrast and diversity.

As a tribute to the variation, I have for my new sculptures, particularly focused on these concepts.

I search for new formal ways to be used in a sculptural positioning of different elements for the purpose of an understated but sensuous-erotic narration."

Danish National Art Foundation - 2012: ”Per Ahlmann insists not only on the object as creating meaning - but on ceramics as a workable modern means of expression. On the modelled sculpture's autonomy and craft's usability.

He is a rare, colourful and valuable bird in today's sculpture forest."

SEMIOTIC & MATERIALITY - Colby Parsons USA - www.colbyparsonsart.com

Colby Parsons is a sculptor and ceramics professor living in Denton, Texas, where he runs the ceramics program at Texas Woman's University.
Colby's work has been shown in a variety of places including the Orange County Center for Contemporary Art in California, The International Ceramic Research Center in Denmark, the University of Pennsylvania Art Museum, and in Dallas at the Craighead Green Gallery, the Pawn Gallery, and 500X. He also created a site-specific installation for the 2010 Taiwanese Ceramic Biennial at the Taipei County Yingge Ceramics Museum.
Recently he received the Zanesville Contemporary Ceramics Award (1.prize 20.000 USD). The Danish National Arts Foundation funds the travels and transport of this exhibition - please also see Parsons' biography – below

SEMIOTIC SERIES 2015 – by Colby Parsons

This group of work features small vignettes or still lifes based on actual objects or groups of things I come across in my daily life - teapot, camera, knife, shoe..

The projected video is a collage of found and collected still and moving imagery showing either depictions of the rendered objects, or things and phenomena connected to them by association.

These are meant as explicit renderings of the way we understand physical reality - in particular the way any object we encounter is understood in reference to past experiences.

The source images and videos are mainly collected from internet sources, and so to some extent they also represent a kind of collective unconscious representation of some of the subject matter, although even so it is always

filtered through my own selection process, so it probably says more about my own associative thinking than it does about pop culture.
Bedroom Floor [video] www.colbyparsonsart.com/bedroom-f

(previous work)

MATERIALITY OF LIGHT SERIES – by Colby Parsons
This group of work represents an exploration of the distortion and textural qualities of video projection in intersection with clay - particularly clay forms with a strong sense of materiality.
The forms are developed around the limiting factor that each piece will be paired with a single data projector, and therefore the projection area must be shaped so that light can reach it from a single point. The forms are also limited by the intention to have the projection hit the surface at different angles, causing distortions to the pixel grid.
I consider the pattern of pixels inherent to the projection process to be analogous to a kind of "materiality", in the sense that any medium has fundamental qualities that can either be hidden (considered as flaws), or celebrated and exploited as a kind of aesthetic of authenticity.

EDUCATION - Institute for Unique, Design School - Kolding, Denmark 1995

SOLO EXHIBITIONS - Jens Nielsen & Olivia Holm-Møller Museum, Holstebro 2015 - “Scalp” KANT, Copenhagen 2014 - “Checkpoint” Copenhagen Ceramics 2013 - Galleri Pagter, Kolding – m. Cai-Ulrich von Platen 2012 - “Emergens” Denmark Ceramic Museum Grimmerhus 2009 - “Lir og løgne” Gallery KANT, Fanø 2008 - Gallery Nørby, Copenhagen 2006

INTERNATIONAL EXHIBITIONS - Contemporary Ceramic Creation, Camard & Associés, Paris 2010,09 - “Biennial International Vallauries” France 2008 - COLLECT international art fair for contemporary objects, London 2007 - Puls Gallery, Contemporary International Ceramics, Brussels 2007 - SOFA Sculpture Objects & Functional Art Chicago 2006

SELECTED EXHIBITIONS - Shared Room, Art Weekend Aarhus 2015, Galleri Profilen 2015 - “Unik keramik,” Køge Art Association 2014 - ”Keramikkens mangfoldighed,” Randers Art Association 2013 - “Med leret som gidsel,” Vestjylland Art Pavilion, Videbæk - “Fra sans til samling 2012” “Biennalen 2011” Denmark Ceramic Museum – Grimmerhus - “På Tværs” Ny Tap, New Carlsberg city, 2010 – Påskeudstillingen Tistrup 2010 - “SUMMERTIME 09,” Gallery Christoffer Egelund - Biennalen for Kunsthåndværk og Design, Trapholt Museum 2007 - “Everything is Flux,” Drud & Køppe Gallery, Copenhagen 2007 - “Five Artists – and Ceramic,” Bendixen Contemporary Art, Copenhagen – Artist's Autumn Exhibition, Den Frie 2003
Artist's Easter Exhibition, Århus 2002,03

GRANTS AND AWARDS - Annie & Otto Johs. Detlefs’ Award, Beckett-Fonden, Denmark's National Bank Art Foundation, Dalhoff Larsens Foundation, Grosserer L. F. Foghts Foundation, Ole Haslunds Artist Award 2014, Aage og Johanne Louis-Hansens Foundation, Danish National Arts Foundation 3.year stipend 2011, stipend 09,05, Jyllandsposten Foundation, Tuborg Foundation

COLLECTIONS - New Carlsberg Foundation, National Danish Arts Foundation, Annie & Otto Johs. Detlefs Collection, Erik Veistrup Collection, Design Museum Denmark, Sjællands Ceramic Museum, Mc Manus Galleries Scotland

BIOGRAPHY - COLBY PARSONS - USA
EDUCATION
Ceramics, Southern Illinois University, Carbondale, IL MFA 1998
Interdisciplinary Studies, Miami University, Oxford, OH Bph 1991

SELECTED EXHIBITIONS 2011-2014
2014 Semiotic, solo, Pittsburg State University Art Museum, Ft. Worth Art Center, Pittsburg, KS - Convergence, solo show, Living Arts, Tulsa, OK - Mute, group show, Circuit 12 Gallery, Dallas, TX - Semiotic, solo show, Brookhaven Community College, Dallas, TX
2013 Semiotic, solo show, Ft. Worth Community Art Center, Ft. Worth, TX - New Directions, group show, Lacoste Gallery, Concord MA - Yesterday's Tomorrow, group show, Spring Street Studios, Houston, TX - Attachments 15, group show, The Ceramic Store, Houston, TX - The Unbearable Lightness of Ceramics, group show, M Squared Gallery, Houston, TX - From Yellow Clay to Black Gumbo: Earth Movers, group show, Winter St. Studios, Houston TX - Pollock Gallery, Southern Methodist University, Dallas, TX
2012 San Angelo National Ceramic Show, group, San Angelo Fine Arts Museum, San Angelo, TX - Cameo Show, group show, 18 Hands Gallery, Houston, TX - Spring Show, group, Lake View Gallery, Tarrant County College NW, Ft. Worth, TX
2011 Simulated Migrations, a video and ceramic installation installed during the national NCECA conference, Tampa Convention Center, Tampa, FL - Six Pack, group show, Live Oak Art Center, Columbus, TX

FUNDS AND AWARDS
2015 Zanesville Contemporary Ceramics AWARD (20.000 USD).
National Danish Arts Foundation supports travels and transport of exhibition 2015

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DESIGN IN CRAFTS - December 2015

November 15, 2015, 5:41 am

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DESIGN IN CRAFTS
Ursula Munch-Petersen
Exhibition 3 - 23 December 2015
Open hours Mon-Sat 11-19.00
Opening reception Thursday 3 December at 16-19.00

Celebrated ceramic designer exhibits original crafts.
Ursula Munch-Petersen is internationally known for her design of tableware.
From beautiful craftsmanship her work has become industrial design products, - still holding a sense of the handmade.

A true relationship between the touch of hands and use of common sense.
Ursula Munch-Petersen has created a myriad of works, tableware, experiments and prototypes of design for industrial or studio production, as well as unique pieces and public commissions.
Many people know the LAERKE SET and URSULA - dishes, bowls, cups and jugs of strong colours and characteristic forms.

This Christmas exhibition contains a large selection of old and new functional pieces found in Ursula's beautiful studio and farm house on the island Møn.

A visit to the place revealed a myriad of pieces from her productive life.
- Colours, shapes, purposes and landscapes went into one with the peace settling upon the countryside.

The scent of history, material and common sense mixed with a joy of making.
- All photos of pieces in the studio, landscape and house on Møn is by Ann.

Few has as Ursula succeeded in combining new design with craftsmanship.
This exhibition focuses on the crafts, original pieces and prototypes, that sometimes resulted in an industrial product - and displays a fine selection of small series and handmade tableware with traces of the hands.

The exhibition's pieces are single or in series - all beautifully useful.
LAERKE SET - dishes, cup, plate.. JUGS - tea, water, milk.. BUTTER DISHES - _ decorated.. DISHES, CENTREPIECES, PLATES - high, low, square, round, oval and curved in multiple sizes and colours.. - for beans , asparagus, fish, shrimp, sunflowers, sugar, salt.. BOWL SET - for the kitchen, table and living room, with and without glass cover .. OVEN DISHES a small selection.. VASES in a spiral, with lines, waves, edges.. MORTAR an early and new version..

URSULA MUNCH-PETERSEN
"I have worked with clay and ceramics for 60 years. There have been numerous exhibitions along the way, and remains from here have ended up at the loft.
My work has been almost evenly divided between modelled objects and commissions - and tableware.
The one has not engaged more or been more important than the other.
Everyday objects require probably the most if you produce it yourself. With things in production, part of the work is collaboration with place of production and marketing.
For major public commissions, collaboration with studios is needed for extra space and kiln capacity. I have worked at The Tommerup Ceramic Workshop with great pleasure and the same for the National Studios for Arts and Crafts.
From one to the other, experience is new every time a new project arises.
For the exhibition, Ann and I looked at the many old and newer things, I have put aside over the years.
We spent some days together, selected things and packed 10 boxes, basically functional - as many as we could carry in each box. This is what is displayed at the exhibition.
When I received inquiries about a small mortar, that I did in the sixties on Bing&Grøndahl, I took the form up, came as well in with the throwing process that there will be a series in the exhibition - a mix of old and new."

SHORT BIOGRAPHY
Ursula Munch-Petersen was born in 1937 on the island Bornholm. Following has her studio experience on The Hjorts Factory in Ronne and education at the Arts&Crafts School (now: Royal Academy Design school) 1956-60, she was employed at Artist Studios of the porcelain factory Bing & Grondahl 1961-68, and designer for The Royal Copenhagen and Kaehler. She has received numerous grants and awards including The Danish Arts Foundation, Denmark's National Banks Foundation, Bindesbøll Medal, Ole Haslund's Artist Award, Arts&Crafts Council, - is a Knight of the Dannebrog. Following an active life as a craftsman and designer with travelling, teaching and exhibitions in Denmark and abroad among others Latvia, Lithuania, Ukraine, the USA, Mexico and China, she has her studio and home in Copenhagen and at the island of Møn. She designed among others faïence tableware 'Ursula' Royal Copenhagen in 1992, pieces in The Larch Set 1994 - and recent public commission is 'Timetable' for the Ancient Roman Road, Jutland 2010.

At the exhibition FormLanguage 2014 Ursula showed hand-thrown stoneware vessels related to 'Dao de Jing' (=way of virtue) by Lao Zi, Chinese book of wisdom (Taoism), probably written 6th. B.C.
Quote: ” About the outer and inner – the meaning of the jar is what is not there – the void within.”

Grateful thanks to the Danish Arts Foundation and Denmark's National Banks Anniversary Foundation.

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BEAUTY OF ZEN January-February 2016

December 30, 2015, 2:17 pm

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BEAUTY OF ZEN
Mette Augustinus Poulsen, Anne Mette Hjortshøj and US-Potters
Exhibition 7 January – 27 February 2016
Opening reception Thursday 7 January at 16-19.00

Danish ceramists meet American potters from 'Mingei-sota - Minnesota.
The exhibitors represent known and unknown, older and younger, differences in background, but they all work with the ideology of making traditional hand-thrown pots for daily use - 'Mingei'.
DK Mette Augustinus Poulsen, Anne Mette Hjortshøj - USA Warren MacKenzie, Randy Johnston, Robert Banker, Linda Christianson, Guillermo Cuellar, Samuel Johnson, Jan McKeachie and Steven Rolf.

Bernard Leach wrote: A Japanese Insight into Beauty – the unknown craftsman
A book about Yanagi's Japanese perception of beauty and value of anonymous everyday things, 'Mingei'. This book has for potters and admirers achieved an almost religious status.
The Japanese appreciation of beauty and tradition of ceramics, travelled in the 20s with the blossoming of folk art via the philosopher Yanagi and ceramic studio of Hamada in Japan to Bernard Leach in England.
In the late 40s, American Warren Mackenzie worked as assistant to Bearnard Leach and passed on the tradition to the US. He settled in Minnesota, which is still called 'Mingei-sota.

The tradition is forgotten or - loved by some and oppressive to others.
Around the world, the ceramic development has sprung from meetings between studio potters. Industrialization challenged the craftsmen, and they became fewer, poorer, - and also more valuable.
Ceramicist's mutual needs of large kilns, apprenticeships for craft experience and technical development have made them new citizens of the world. Some have maintained the tradition of craftsmanship in everyday objects that follow the past craft and function rules. Others, in various ways, have moved away from tradition, but still hold the traces and words of the old ceramic doctrines.

The exhibiting traditional potters represent 'the Beauty of Zen'.
The object's texture and function set of rules are connected to the making process, malleability of clay and possibilities of hands, - both for making and holding the objects in use.
The two Danish potters exhibit a selection of their works, whereas the Americans each show a personal choice of cups.

It is sometimes in the finest detail, like in diversity of signatures, there is to be seen - and recognized the personality and originality of things.

Thanks to The Danish Arts Foundation's Project Funding of exhibitions 2016.

BEAUTY OF ZEN – THE EXHIBITORS – from interviews and bibliographies

Mette Augustinus Poulsen: "They are jars that do not make a fuss. Working on the jars is continuous and for the exhibition they are selected after the last firing.
The pots are thrown in sandy West Jutland red clay and fired at 1160 Celsius, that is something in between ordinary red clay (melts at 1060 degrees) and stoneware fired somewhat higher. They are reduced (firing with lack of oxygen) with the help of wooden sticks in an electric kiln. The reduction means a lot to both glazes and clay.
I am inspired by the city, the harbour, nature and of cooperage."
Mette Augustinu Poulsen was educated at the Royal Academy of Fine Arts 1966-70. She has exhibited in Denmark and abroad, including Gallery Björnen, Stockholm 1999; Sigtuna Museum, Sweden 2001; Kaolin, Stockholm 2006.14; Collect, Saatchi Gallery, London 2010,11,12,13; SOFA New York 2012 .. Represented in museums, public and private collections in Denmark, Europe, USA and Japan. Has received several grants and awards from the Danish Arts Foundation, National Bank's Jubilee Foundation, Ellen and Knud Dalhoff Larsen Foundation, Ole Haslund Artist Award, The Art Association of Aug. 14...
www.mette-augustinus-poulsen.dk

Anne Mette Hjortshøj: "I work as a potter and look more backward than forward in getting the pieces to make sense from one firing to the next..
The marvels of details, texture and balance between form, surface and function are apparently a 'never ending' addiction. - The need to cut elements and preserve the essence of a story, where the balance between nature, culture, geology and mystery are the key elements, - is the goal.
However, I must admit that I am most of all just trying to make beautiful things in a beautiful tradition. I am happy when it occasionally succeeds.
I had during the previous 10 years only worked with salt glazing. Since we built the two-chamber kiln - by now almost five years ago, the challenge has been to learn what the two chambers have been able to add.
In one chamber of the kiln, in which I work with glazes, I have used the opportunity to work with different Bornholm types of clay and other local raw materials, like quartz, feldspar and ashes. It is a difficult process, but leaves precisely these nuances.
The pieces in this exhibition are the result of five years of work and many failed firings and a lot of new knowledge about the Bornholm 'underground'.
It is functional ceramics, wood-fired stoneware and porcelain. I work primarily on the wheel, but often with thrown elements that I subsequently assemble into new shapes. Some major pieces are pressed in plaster moulds or modelled.
I use a few glazes, typically made of local Bornholm raw materials, but have a relatively large variation of surfaces by creating works in a large palette of types of clay under the same glaze."
www.goldmarkart.com - See video https://vimeo.com/39375145

MINNESOTA - WISCONSIN POTTERS

Warren MacKenzie: ”Pots shall start with a purpose. The details will follow as your ideas develop. Pots that are used should be good to see and good to touch. All of my work is stoneware, wheel thrown & fired in a gas fired kiln. Inspired by 'Mingei' pottery and Shoji Hamada.”
Born in 1924, Kansas City Missouri. Educated at Chicago Art Institute 1942-46.
Went to Japan right after World War II. Worked at Bearnard Leach Pottery two ½ years. Lived with Bearnard Leach all that time. Met Lucie Rie. International Pottery Conference Darlington England 1952. Met Shoji Hamada. Invited Hamada to St. Paul Minneapolis USA with Bernard Leach for a workshop.”
Publication: Warren MacKenzie American Potter. Published by Kodansha International Ltd. 1991.
Warren MacKenzie (b. 1924) is a North American craft potter still working in his studio in Minnesota. MacKenzie studied and worked with Bernard Leach from 1949 to 1952. He is highly influenced by the oriental aesthetic of Soetsu (Muneyoshi) Yanagi (1889-1961), Shoji Hamada and Korean ceramics, - credited with bringing the Japanese Mingei style of pottery to Minnesota, fondly referred to as the "Mingei-sota style.
MacKenzie has described his goal as the making of 'everyday' pots. His pots are found in major museums and command high prices among collectors. Most of his work is made in stoneware, although he has worked in porcelain at times during his career. MacKenzie is well known as a teacher. Since 1952 he taught at the University of Minnesota, where he is a Regents' professor emeritus. His students have included Randy Johnston, Mike Norman, Jeff Oestreich, Wayne Branum, Mark Pharis, Shirley Johnson..

Robert Banker: “My wheel thrown pieces are carved with traditional chip carving methods usually associated with wooden objects. The textures are experienced with your fingers as well as your eyes. This work is outgrown of my interest in pattern that is suggestive of patterns of growth in the natural world.
I enjoy transferring ways of thinking about making from one material to another. From simple repeated cuts comes pattern and surface.
I am looking at the way different cultures around the world change the surface of objects by relief carving."
Robert Banker teaches at the Rochester Community and Technical Collage and has his pottery studio in Oronoco, Minnesota 2004-present.
He has a MFA University of Minneapolis 1997 - BFA Alfred University, New York USA 1988. Teacher at University of Alaska Anchorage Art Department 1998-2003; Art studies/workshops in the USA, Europe and Denmark;workshop at Tokoname Ceramic Art IWCAT'89 Japan; architecture Ithaca, New York USA 1989-97; Teacher at Langeland Art School 1992/93; Assistant for Warren MacKenzie.

Linda Christianson: “My daily practice begins with the making of 4 cups. While seemingly a simple form, the cup contains all the challenges I like: the pairing down of an essential lively form, comfortable feeling yet visually compelling, and a volume that suggests a specific liquid. Being put to the lip, the cup is the most dauntingly personal pot one could make. It has the capacity to change one's daily life. In my household, the favorite cups never make it into the cupboard. Their life moves from dish drainer to hand to sink and back to drainer. The best cups always end up in the shard pile, for they are loved to death.
Wheel thrown cups, stoneware clay with slip and glaze. Fired in 2 chamber wood kiln.”
Linda Christianson is an independent studio potter who lives and works in rural Minnesota.
She studied at Hamline University (St Paul, Minnesota), and the Banff Centre School of Fine Arts (Banff, Alberta, Canada). She exhibits nationally and internationally, including one person exhibits in London and St. Louis. Her pieces are in numerous public and private collections, including the American Museum of Ceramic Art and the Glenboe Museum. An itinerant educator, Linda has taught at colleges and universities, including Carleton College and the Hartford Art School. She received fellowships from the National Endowment for the Arts and the McKnight Foundation. Her recent writing appeared in Studio Potter and The Log Book. One of her goals is to make a better cup each day.
- www.christiansonpottery.com

Guillermo Cuellar: “Utilitarian hand made studio pottery. I believe exquisite beauty can be found in unique pieces made for use. All my work is based on function. Forms, glazes and decoration evolve gradually over time based on variations on functional traditional themes.
It is unusual to find artwork that is meant to be used and handled and intimately appreciated for tactile qualities as well as visual. Art should not be separate from our lives, confined to galleries, or behind glass.
Inspiration is drawn principally from historical work of Korean, Japanese, American and European origin.
Reduction gas fired glazed stoneware pottery.”
Guillermo Cuellar was born in Maracaibo, Venezuela in 1951. He grew up in Caracas and in the early ’60s he traveled to the United States. He studied ceramics at Cornell College, Mt. Vernon, Iowa, where he majored in Art, French and Geology, graduating in 1976. In 1986 he set up a studio in the village of Turgua, southeast of Caracas, where he made pots for sixteen years.
In 1981 he worked as assistant to Warren MacKenzie, who was teaching in Caracas and with whom he regularly shared workshop experience from 1984 to 2006. Guillermo has taught workshops sponsored by the Venezuelan Association of the Arts of Fire and assisted in those given by MacKenzie, Linda Christianson, Randy Johnston etc. His work has been on display in the Venezuelan National Art Gallery, Museo de Arte Contemporaneo de Caracas Sofia Imber, Museo de Arte Contemporaneo de Puerto Rico, Smithsonian Institution, Northern Clay Center Minnesota and private galleries in the United States, England, Venezuela, and Chile. In 2005 he moved to the upper St. Croix river valley near Shafer, Minnesota. Here he established a home and studio.

Randy Johnston: “My work has specific modern connotations and addresses the development of abstraction within the aesthetic of utilitarian objects.
Essential to a strong representation of each form is a feeling for its overall spatial structure.
Moreover, the surface textures and marks are not an afterthought, but a tangible component of completion and fulfillment.“
High fire reduction firings in wood and gas.
Randy Johnston has been working in ceramics for more than thirty years. He is recognized internationally as an artist, who has pursued functional expression and brought a fresh aesthetic vision to contemporary form, and for his many contributions to the development of wood kiln technology in the United States. He is currently a professor at the University of Wisconsin - River Falls.
His work is exhibited internationally, and he is the recipient of numerous awards including Visual Artist Fellowships from the National Endowment for the Arts.
Johnston received his MFA from Southern Illinois University and a BFA in Studio Arts from the University of Minnesota where he studied with Warren MacKenzie. He also studied in Japan at the pottery of Shimaoka Tatsuzo who was a student of Shoji Hamada.
Johnston has presented hundreds of lectures and guest artist presentations worldwide. He has work in the permanent collections of the Minneapolis Art Institute, Boston Museum of fine Arts, Los Angeles County Museum, Nelson Aitkins Museum and numerous International Public and Private collections.

Jan McKeachie: “My intent is that these pieces stand alone as visual objects.. move beyond that to express emotional, sensual, tactile, spiritual, and ritual sensibilities.. enhanced by the communication and sharing that occurs through use. It is important to me that my work be integrated into daily life.. the simplest cup may become a very important and enriching object in ones daily existence.
These cups are made from stoneware clay, thrown on a Leach style treadle wheel, and fired to cone10 in either a gas reduction firing or wood firing.
In addition to the Leach/Hamada tradition of ceramics, some of my primary influences are African Art (woodcarving, masks, pottery), gardening, which inspires many vase forms, basketry, Minoan ceramics, and prehistoric art.”
Jan McKeachie Johnston studied at the University Of Minnesota, Southern Illinois University, and University Of Wisconsin at River Falls, and since 1979 has been very active in teaching workshops and demonstrations, and working in her Wisconsin studio. For the past 20 years she has participated in important exhibitions throughout the United States. Recent exhibitions include Relativity, Lacoste Gallery, Concord, MA,Heart To Hearth,TRAX Gallery, Berkeley, CA, Roy Forbes Selects, Frank Lloyd Gallery, Los Angeles, CA Her work has also been featured in Clay Times and Ceramics Monthly, and she is represented in many private and public collections, including the Chrysler Museum, Norfolk, Virginia; the Weisman Art Museum at the University of Minnesota; and the Minneapolis Institute of Art.
Jan has recently been collaborating with Kinji Akagawa to create sanctuaries for flowers with her cone vase forms. These pieces are available at Lacoste Gallery Kinji is, a philosopher and Professor Of Art at Minnesota College Of Art And design, a renowned sculptor and public artist.

Samuel Johnson: “I have been exploring darkness in the work as a metaphor. This current work is produced by reducing oxygen from the cooling phase of the firing and bathing the work in smoldering wood embers.. producing bands of color, iridescence, and dark surfaces that seem like shadow or silhouettes.
The work is unglazed and raw.. quietly confrontational. Meditative. Still.
We have a capacity for reason and mathematical precision and yet are also half wild, full of biological and spiritual mysteries which drive our impulses despite existing, often, beneath consciousness. Poets refer to this as shadow – those aspects of our personality, our humanity, which are hidden from us.
These cups are unglazed, raw, yet fully functional as drinking vessels.”
Samuel is Associate Professor of Art at the College of Saint Benedict and Saint John’s University. Samuel has participated in several exhibitions and solo exhibitions. His work is in the permanent collection of the North Dakota Museum of Art and featured in the book, Stoked: Five Artists of Fire and Clay, Ceramics Now (2014), and the forthcoming, Mastering the Potter’s Wheel (2016). Samuel grew up on the western prairie of the Red River Valley, outside of Breckenridge, Minnesota in 1973. Before earning his MA and MFA from the University of Iowa (2005), he apprenticed with Richard Bresnahan (1996-1999), studied ceramic design at the Danish Design School in Copenhagen, Denmark (2000), and worked in Japan as a studio guest of Koie Ryoji (2001). He lives in rural St. Joseph, Minnesota, with his wife, Anne, and their four children, Harriet, Jesse, Ingrid, and Francine.

Steven Rolf lives and works as a studio potter in River Falls, WI, creating one-of-a-kind functional pots. His work reflects an ongoing search to unite his ideas with the generosity and the intimacy that the functional pot offers. “I continually play with shape and surface within parameters set by the intended purpose of the pot. These parameters open a world of exploration for me.”
S. C. Rolf holds an MFA from the New York State College of Ceramics at Alfred University, a BFA from the Kansas City Art Institute, and a BS in Broad Area Arts from the University of Wisconsin River Falls. He also apprenticed under Wang Hui Ming, a master painter and wood engraver.
He exhibits his work throughout the United States and has received a number of national awards. He also lectures and teaches workshops throughout the country. His work resides in noted private and national and international museum collections, as well as numerous kitchen cupboards.

BIOGRAHY - ALL EXHIBITORS

BIOGRAPHY - Mette Augustinus Poulsen www.mette-augustinus-poulsen.dk
EDUCATION Jutland Art Academy 1966-70
Eget værksted fra 1970
Medlem af Statens Kunstfonds tremandsudvalg for kunsthåndværk og kunstneriske formgivning 1984-86
Medarrangør af »Dansk Keramik 1991«, Aarhus Kunstbygning
SELECTED EXHIBITIONS
NordForm 90, Malmö, 1990
Dansk Keramik 1991, Aarhus Kunstbygning, 1991
Galleri Lejonet, Stockholm, 1994
Deense Keramiek, Museum Boymans-van Beuningen, Rotterdam, 1995
Unika, Kunstindustrimuseet, 1996
Galleri Björnen, Stockholm, 1999
Sigtuna Museum, Sverige, 2001
Kaolin, Stockholm, 2006, 2014
Clausens Kunsthandel, Kbh., 1993, 1995, 2000, 2004, 2010
Collect, Saatchi Gallery, London, 2010, 2011, 2012, 2013
SOFA New York, 2012
COLLECTIONS Kunstindustrimuseet - Kunstmuseet Trapholt, Kolding - Keramikmuseet Grimmerhus - Museum Kruithuis, Hertogenbosch, Holland - Schleswig-Holsteinisches Landesmuseum, Gottorp Slot - Birmingham Museum of Art, Alabama, USA - Statens Kunstfond - Ny Carlsbergfondet - Private samlinger i Europa, USA og Japan.
GRANTS AND AWARDS Statens Kunstfond - Nationalbankens Jubilæumsfond af 1968 - Ellen og Knud Dalhoff Larsens Fond - Ole Haslunds Kunstnerlegat, 1990 - Anne Marie Telmanyi født Carl-Nielsen Legatet, 2004 - Kunstforeningen af 14. august Legatet, 2010

BIOGRAPHY - Anne Mette Hjortshøj (b. 1973)
www.goldmarkart.com - Se video https://vimeo.com/39375145
EDUCATION - Glass and Ceramic Art School at Bornholm 1997–2000
EXHIBITIONS
2015 Chawan Expo, Hemiksen, Belgien
SALT, Keramisk Center Höganäs, Sweden
2014 Japanism, Bornholm Ceramic Museum, Hjorts Fabrik, Denmark
2013 The International Chasabal Festival, Mungyeong, South Korea 13, 12, 11, 10, 09, 08.
8 in Jaffa, Contemporary Ceramics Gallery, Israel
2012 SOGO Departmentstore, Tokyo, Japan
“Three Cups”, Vessels for Tea, Dragon Tearoom and Gallery, Colorado, USA
Solo show, Goldmark Gallery, Uppingham, England
2011 Japan/Bornholm, Galleri Vang, Bornholm, Denmark
”Next Generation”, Palæfløjen, Roskilde, Denmark
2010 ”Wall of Fame”, First Decade, Selected Graduates, DKDS Bornholm
Ganjin Celedon Festival, International Ceramic Artist Exhibition
LECTURES/WORKSHOPS
2015 2nd European Woodfire Conference, Skælskør Denmark
2014 Tel Aviv Museum, Israel
2013 International teabowl festival, Mungyeong, South Korea
2001 ICF, International Ceramic Festival, Aberystwyth, Wales
PUBLICATIONS Ceramic Monthly, February 2013 - The Log Book, Woodfire Magazine - Guide to Collecting Studio Pottery, Alistair Hawtin, A&C Black 2008 - Alternative Kilns, Ian Gregory, A&C Black, 2006 - Pots in the Kitchen, Josie Walter, Crowood Press 2002 - Saltglaze, Phil Rogers, A & C Black, 2002
ORGANIZER Baltic Woodfired 2008

BIOGRAPHY - WARREN MACKENZIE
'Mingeisota'– from MINGEIKAN – Japan Folk Crafts Museum, Tokyo - (edited)
In the United States there is a potter who, maintains, by his way of life, the Mingei Movement theorized and advocated by Soetsu (Muneyoshi) Yanagi (1889-1961), founder of the Mingeikan (the Japan Folk Crafts Museum).
Warren MacKenzie, 70 (presently 91), who operates his kiln in Stillwater, Minnesota, for more than 40 years, is a man with the true heart of Mingei...
MacKenzie's pottery have a healthy strength and bright beauty. They are simple, yet friendly and warm. His pottery induces the desire to have it as part of one's life and put it to good use. This brings fulfilment and satisfaction. When we seek the attractiveness of his pottery, we think of the history of Mingei and his relationship to it...
In 1950 he went to England to study with Bernard Leach, a Japanese-trained potter credited with reviving ceramics in England and forging a merger between Eastern and Western ceramic traditions. Leach, along with Shoji Hamada, were close friends of Yanagi and strong supporters of the Mingei Movement (in Japan).
The first Americans to study with Leach, MacKenzies spent two years living in his house and working at his St.Ives pottery studio. During this period, MacKenzie came into contact with the works of Hamada because of the many Hamada pots that Leach owned. In 1952, Hamada, Yanagi and Leach went to the US to give lectures. One of their stops was St.Paul (Minnesota), where MacKenzie had the opportunity to meet all in person. Although he did not formally study with Hamada, MacKenzie is so closely identified with the aesthetics of Yanagi, Leach and Hamada that he and his students have earned the nickname of the 'Mingei-sota' movement, from Mingei, a term coined by Yanagi meaning arts and crafts made for and by the people, and Minnesota.
The spirit of Mingei has been carried on from Soetsu Yanagi and Shoji Hamada to Bernard Leach and from him to Warren MacKenzie. This spirit has become Mingeisota' and is flowering and bearing fruit in Minnesota.
“I think it is a wonderful term because it does express an attitude that prevails among the potters around here, both in type of pot and the price charged,” MacKenzie says.
Shortly after returning from England, he began teaching ceramics at the university of Minnesota and was professor of ceramics for a long time. “The kind of pots we make don't belong to a museum because they are made to be picked up and drunk from, washed, used, put in a cupboard and lived with every day”…

BIOGRAPHY - Robert Banker (born 1960 - upstate New York)
EDUCATION – MFA 1997 University of Minneapolis - BFA 1988 Alfred University, New York USA
PROFFESSIONAL EXPERIENCE Tokoname Ceramic Art IWCAT'89 Japan, arkitektur Ithaca, New York USA 1989-97, Teacher Langelands Kunsthøjskole 1992/93, Assistant for Warren MacKenzie 1996, Teacher at University of Alaska Anchorage Art Department 1998-2003, Rochester Community College Art Department 2003-present. Art studies/workshops in the USA, Europe and Denmark.
Own pottery studio in Oronoco, Minnesota 2004-present.

BIOGRAPHY - Linda Christianson (Born 1952 Wisconsin USA) - www.christiansonpottery.com
EDUCATION - TRAINING
Hamline University, St. Paul, Minnesota, B.A. Studio Art 1974 & Graduate Apprenticeship Program
Ceramic Studio Workshop Program, Banff Centre School for Fine Arts, Alberta, Canada
RECENT EXHIBITIONS
International Woodfired Tableware - Artifakt Gallery, Deloraine, Tasmania, Australia
La Borne, L’amour du feu - Centre Cermique Contemporaine, LaBorne, France
Funktional - Leach Pottery, St Ives, Cornwall, England
Warren MacKenzie and some Midwestern American Potters - Mashiko Museum of Ceramic Art, Japan
AWARDS National Endowment for the Arts Fellowship - McKnight Foundation Ceramic Fellowship - Minnesota State Arts Board Fellowship - McKnight Foundation Visual Arts Fellowship
ACADEMIC TEACHING
2001-03 Dayton-Hudson Distinguished visiting teacher/artist, Carleton College, Northfield, Minnesota
2002 Koopman Distinguished Chair in Ceramics, Art School, University of Hartford, Connecticut
1993 University of Georgia, Athens

BIOGRAPHY - Guillermo Cuellar www.guillermopottery.com
EDUCATION
1951 Bachelor of Arts, Cornell College, Mt. Vernon, Iowa, USA. Born Maracaibo, Venezuela
SELECTED EXHIBITIONS
2015 Host St. Croix Valley Pottery Tour, Minnesota, USA
Guillermo Cuellar: St. Croix Stoneware, The Phipps Center for the Arts, Hudson, WI, USA
2014 Red River Reciprocity: Contemporary Ceramics in Minnesota, North Dakota, Plains Art Museum,
2013 Minnesota to Massachusetts: Sharing the Fire, Lacoste Gallery, Cambridge, MA, USA
2012 Tour de Force, ArtReach St. Croix + St. Croix Galleries, Stillwater, MN, USA
2010 Guillermo Cuellar Solo Exhibition, Schaller Gallery, Red Lodge, MT, USA
2009 Minnesota Traditions: Potters of the Upper St. Croix River, Roswell Art Center West, GA, USA
2006 Solo show: Guillermo Cuellar, Pottery, Raymond Avenue Gallery, St. Paul, MN, USA
2003 Solo show: Guillermo Cuellar, Los Objetos que Escogemos, Sala Mendoza, Caracas, Venezuela
1995 Diez Presencias – Las Artes del Fuego en Venezuela, Galería de Arte Nacional, Caracas, Venezuela

BIOGRAPHY - Randy Johnston www.mckeachiejohnstonstudios.com
EDUCATION
1990 Master of Fine Arts, Southern Illinois University, Edwardsville, Illinois
1972 Bachelor of Fine Arts/Studio Arts, University of Minnesota, Minneapolis, Minnesota
1975 Pottery of Shimaoka Tatsuzo who was a student of Shoji Hamada Mashiko, Japan.
Shimaoka was Awarded Title of Living National Treasure 1997
PROFESSIONAL
1972–.. Studio Artist, River Falls, Wisconsin
1993–.. Art Department, Professor – Ceramics/ Drawing University of Wisconsin-River Falls, Wisconsin
2008-13 Chair Art Department
SELECTED EXHIBITIONS - since 2009
2014 One Person Exhibition Augustana Colleg Sioux Falls, SD
Mackenzie’s Influence St Croix Art Reach Invitational Stillwater, MN
NCECA Grounded in Wisconsin Students of Randy Johnston Milwaukee, WI
2013 Shino, Endless Variations, NCECA Houston, TX
Pucker Gallery, One person Exhibition Boston, MA Catalog
2012 Huntington Museum of Art Walter Gropius Award Huntington , W VA
2011 Single Person Exhibition, Pucker Gallery, Boston, MA Catalog
Language of Contemporary Ceramics, Bunnell St Gallery, Homer AK
2010 Gallery B Square, NCECA, Philadelphia, PA
Mashiko Reference Museum, Mashiko, Japan
2009 Curated Invitational by Peter Held, Promega Corporation, Madison, WI
Single Person Exhibition, “Striking Balance”, Pucker Gallery, Boston, MA

BIOGRAPHY - Jan McKeachie (b. 1953) www.mckeachiejohnstonstudios.com
EDUCATION - Studied ceramics at The University Of Minnesota, The University Of Illinois at Edwardsville, and received my BFA from The University of Wisconsin at River Falls.
SELECTED EXHIBITIONS - Recent exhibitions include Relativity, Lacoste Gallery, Concord, MA,Heart To Hearth,TRAX Gallery, Berkeley, CA, Roy Forbes Selects, Frank Lloyd Gallery, Los Angeles, CA Her work has also been featured in Clay Times and Ceramics Monthly, and she is represented in many private and public collections, including the Chrysler Museum, Norfolk, Virginia; the Weisman Art Museum at the University of Minnesota; and the Minneapolis Institute of Art.
Jan has recently been collaborating with Kinji Akagawa to create sanctuaries for flowers
PROFESSIONAL - Teaching workshops at Art Centers such as Anderson Ranch, Snowmass Colorado, Curaumilla Art Center, Chile has been a very fulfilling part of my career.

BIOGRAPHY - Samuel Johnson www.samuel-johnson.com
EDUCATION
2005 University of Iowa - Iowa City,Master of Fine Arts Degree Ceramics
2001 Studio of Koie Ryoji, Studio guest of internationally renowned ceramic artist, Tokoname, Japan
2001 Studio of Jeff Shapiro, Apprenticed to Ceramic Artist, Accord, NY
2000 Denmark’s Design School, Guest Student Ceramics, Industrial Design Program, Copenhagen, DK
1999 Saint John’s Pottery Studio, Apprenticed to Richard Bresnahan, Collegeville, MN (1996-99)
PROFESSIONAL
2016 Mastering the Potter’s Wheel (forcoming Book)
2015 Solo Exhibition, Sara Japanese Pottery, New York, NY
2014 Ceramics Now (Book)
2014 Exhibition, Jane Hartsook Gallery, New York, NY
2014 Artaxis.org Board of Directors
2013 North Dakota Museum of Art Perminate Collection
2011 Stoked: Five Artists of Fire and Clay (Book)
2006 Professor of Art at the College of St. Benedict and St. John’s University

BIOGRAPHY - Steve Rolf www.scrolfpotter.com
MFA from the New York State College of Ceramics at Alfred University, a BFA from the Kansas City Art Institute, and a BS in Broad Area Arts from the University of Wisconsin River Falls. He also apprenticed under Wang Hui Ming, a master painter and wood engraver.
S. C. Rolf exhibits his work throughout the United States and has received a number of national awards. He also lectures and teaches workshops throughout the country. His work resides in noted private and national and international museum collections, as well as numerous kitchen cupboards.

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EXHIBITION CALENDAR 2016

December 29, 2015, 8:01 am

≫ Next: ARCHIVES LABORATORY - March 2016

≪ Previous: BEAUTY OF ZEN January-February 2016

PERMANENT EXHIBITION & ARTISTS:
GALLERY COLLECTABLES
(The exhibition program may be subject to change)

7 JANUARY – 27 FEBRUARY ZEN OF BEAUTY
Unknown Craftsmen: Denmark - 'Mingei-sota'
Mette Augustinus Poulsen and Anne Mette Hjortshøj exhibit with the Minnesota Potters: Warren MacKenzie, Robert Banker, Linda Christianson, Guillermo Cuellar, Randy Johnston, Samuel Johnson, Jan McKeachie, Steve Rolf. The exhibitors represent the known and 'unknown', older and younger, differences in background, but all relate to the philosophy of 'The Unknown Craftsman' in a rich tradition of hand-thrown pieces for daily use.

1 MARCH – 2 APRIL LABORATORY ARCHIVE
Anne Fabricius Møller & Ann Linnemann DK
Interdisciplinary experimental collaboration project of new materials and techniques from the drilling in cast concrete, glaze and clay during a studio residency at the Danish National Workshops of Art in 2015. The exhibition is a presentation of the project showing the work process' laboratory character with tests, works in progress and conclusions. Textile and ceramics meet in new textures - unconcrete thoughts and the concrete..

7 APRIL – 7 MAY OBJECT - SUBJECT
Charlotte Thorup DK
Module upon module leads to a new form where small entireties becomes one large whole. Pattern and repetition, dimension and context from nature as well as the city - a field with grain pattern or a building where the attention is caught. Porcelain holds in the material a fine duality between strength and fragility. Simplicity rules in the piece's own light and shadow effects that create 'the colour'.

12 MAY – 11 JUNE BARBRO ÅBERG
The pieces are created from microscopic fossils expressing a fusion of nature and culture as inspiration - pattern and organic structures combine thoughts of time, memories of life with reference to human culture. Other objects relate to the theme 'Eggs or Stones', sculptures and objects. Even when the bowl and vase sneaks in - it is still in the form of archetypal sculptural 'unique pieces'.

16 JUNE – 20 AUGUST HORIZONTAL – VERTICAL
Danish/International (Closed in July)
Guest artists Eva Brandt, Vibeke B. Krog and Better Lübbert are invited to exhibit unique vessels, vases, jars along with selected works by Danish and international exhibitors represented in the collection of the Gallery.
The focus is horizontal and vertical dialogue by combining vessels and wall objects made by the Gallery's artists Esben Klemann, Marianne Nielsen, Mikael Jackson..

25 AUGUST – 17 SEPTEMBER GEOMETRIY OF MATERIAL
Heidi Hentze DK
From material research and cylinders to very simple and extremely sophisticated folds of graphic structures, analysis of compartmental constructions, collocated fixtures and the colour's influence of shape geometry.
Of professional knowledge, doubts and curiosity she seeks towards a philosophical ethical sense in the work.

22 SEPTEMBER – 22 OCTOBER NORDIC NUANCES
Gunhild Rudjord DK & Nina Malterud Norway
The Nordic artists are invited for this exhibition with the theme of Scandinavian colours and nature. The emphasis is on creating interaction and counteraction between the artists' works, Nordic expressions and uniqueness in decoration and colour delight of image and abstract pattern on ceramic form. Presenting each artists present focal points.

27 OCTOBER – 26 NOVEMBER SLEIGHT OF HAND: TRICK OF THE EYE..
Peder Rasmussen & Michael Geertsen DK
Stephen Bowers AU, Kurt Weiser, Richard Shaw USA..
Contemporary Danish ceramic artists along with International guests explore aspects of visual illusion, Visions of the Mind.
This exhibition on the ceramic art of illusion features Leger-de-main pieces with the emphasis on deceiving and delighting the eye.
While remaining faithful to the ceramic medium and its manipulation, the artists play with ideas of deception and illusion. Things are not quite as they may seem. Expectations are subverted and humorously played with.
The French term, Leger-de-main, is another name for sleight of hand, a cunning deception or any artful trickery.

1 - 23 DECEMBER TOY
Christmas Exhibition - Danish/International
Artists are invited to participate in this Christmas exhibition about unique toys in ceramics - objects for both children and grown-ups. Each exhibitor can apply for participation with one or a unique little series of pieces that can be anything from quirky unconventional toys to tableware for children and 'young at hearts'. The Manga-culture has not lived in vain..
See open hours in December.. (closed between Christmas and New Year)

PERMANENT EXHIBITION & ARTISTS: See GALLERY COLLECTABLES
- Akio Takamori - Alikka Garder Petersen - Ann Linnemann - Anne Fløcke - Asger Kristensen - Barbro Åberg - Beate Andersen - Bente Hansen - Bente Skjøttgaard – Better Lübbert - Bodil Manz - Charlotte Thorup - Christina Schou Christensen – Dorte Kristoffersen - Elisa Helland-Hansen - Esben Klemann - Extrudox A/S Steen Ipsen/Anne Tophøj - Gerd Hiort Petersen - Gunhild Aaberg - Hans Munck Andersen - Hans Vangsø - Heidi Hentze - Helle Hove – Inge Lise Koefoed - Jane Reumert - Jonathan Keep - Karen Bennicke - Karen Harsbo - Kim Holm - Kirsten Christensen - Kirsten Coelho - Kirsten Høholt Kirsten Justesen - Kurt Weiser - Lea Mi Engholm – Lesley Baker - Lis Biggas - Lis Ehrenreich - Lisbeth Holst-Jensen - Lone Borgen & Stephen Parry - Lone Skov Madsen - Louise Birch - Louise Gaarmann - Louise Sidelmann - Malene Müllertz - Margaret O'Rorke - Marianne Krumbach - Marianne Nielsen - Mariko Wada - Martin Bodilsen Kahldahl – Mette Augustinus Poulsen - Mette Marie Ørsted - Mikael Jackson - Morten Løbner Espersen – Morten Modin - Neil Brownsword - Ninna Gøtzsche - Ole Jensen - Ole Vesterlund – Per Ahlmann - Pernille Pontoppidan Pedersen - Prue Venables - Richard Shaw - Samuel Chung - Sandra Davolio - Sophus Ejler Jepsen - Sten Lykke Madsen - Stephen Bowers - Søren Thygesen - Theis Lorentzen - Turi Heisselberg Pedersen – Ueda Mayu - Ulla Bech-Bruun - Ursula Munch-Petersen - Vibeke Rytter.. - Marek Cecula...

↧

ARCHIVES LABORATORY - March 2016

February 17, 2016, 8:07 am

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ARCHIVES LABORATORY
Anne Fabricius Møller and Ann Linnemann
Exhibition 4 March - 2 April 2016
Opening reception Thursday 3 March at 16-19.00

Textile and ceramics meet in new materialities - concrete and inconcrete.
An interdisciplinary experimental collaborative project of material combinations and techniques, such as cylinder-drilling in cast concrete, glaze, clay.. done in a studio residency at The Danish Art Workshops SVFK Copenhagen in 2015.
The exhibition is a presentation of the project, showing the laboratory-like character of the experiments and work in progress.

A fascination with secret layers, geological research and collecting things has resulted in a collaboration in which sand, cement, old shards, cups and other easily available materials are cast and/or melted into unique small existences, which are core-drilled, and archaeological surprises have emerged.

Cup-drilled columns, some are several cuts out of one casting, creating new spatialities, as from the recycled teapot that is cast in concrete, to seabed-like associations in the ceramic drillings.

Much fell apart in the process, some fell out reasonably, but small revelations also jumped out of the project.

Unpredictable areas and substances, also much stuff in the bottom of a bucket.
Some casts are in a geological-like state as if extracted from the real world.

The project has used recycled gravel, powder, glazes, clay, pottery shards, - cups, jugs, bowls and other things from many years of ceramic work by Ann Linnemann and from Anne Fabricius Møller's accumulations.
The result is both a concrete and in-concrete exhibition.

We would like to thank MT Højgaard for the loan of drilling equipment and The Danish Art Workshops SVFK in Copenhage for studio space in the spring of 2015.
Also thanks to the Danish Arts Foundation Project Fund for funding in 2016.

HISTORY
Anne Fabricius Møller has a small collection of drilled cores, found and acquired. She had inherited the mysteriously 'unattainable' and interesting stone and concrete cores; and then one day a hole had to be drilled through a concrete wall for a drain, and she saw the process of 'cylinder drilling' and it became physically visual and not as unattainable as she first believed.
The desire for 'drilling' secrets out of things was shared with Ann Linnemann. They had talked about doing a project together, and it was obvious with Ann's archaeological interest and their mutual mindset that cylinder-drilling could appeal to both.
Knowledge of ceramics could prove to be an inspiration for the project.

RESEARCH
The project is inspired by drilling with 'Cup-drills' (cylinder/core drills) for example occurring at construction sites, brickwork for pipes and installations, geological ground investigations, ice core drilling, biological research, time survey, archaeological studies, and not least the left-over drill holes and the drilling cores.

Key words are geological deposits - archaeological accumulations - time layers - time pockets - memories and secrets - conscious and unconscious - precision and randomness...

"We worked with material tests and experiments based on our individual experiences, but with the object being to challenge these experiences through interdisciplinary collaboration, differences in material knowledge, craftsmanship and artistic approach, mindset and philosophical aspects of the project itself."

THE PROJECT
Collection and accumulation of materials - layer by layer.
Material and form studies are mainly in clay and other ceramic materials, fired shards, but also concrete, sand, stone, cement, wood, and other matters.
We drilled with a cylindrical Cup-drill into mixed substances, which we then fired at different temperatures or fired before drilling.
Because of melting risk in the kiln we made clay containers that were labelled and filed in a coded system.

Anne Fabricius Møller - www.aaa-fff-mmm.dk
"Generally, I am inspired by what is at hand and daily chores, mechanics, tool geometry, botany, spontaneous processes, time, nature, and that of the good stuff, I can dig up from my own stash."
BIOGRAPHY (b. 1959)
EDUCATION School of Art & Design, (Art Achademy), Textile, 1982–1986
EXHIBITIONS 2013-2015
2015 Hjemlighed, udstilling i privat hjem i Lavendelstræde, København
2015 Snedkernes Efterårsudstilling, Øregaard Museum, Hellerup
2015 Tisch Towel, Butik for Borddækning, København
2014 Antibodies, Tapholt, Kolding
2014 Mindecraft 14, Møbelmessen i Milano, Italien
2014 Snedkernes Efterårsudstilling, KADK, København
2014 Street Print, La Sala Vincon, Barcelona, Spanien
2013 ‘Wireless’, Kunstsenter i Drammen, Tønsberg og Frederikstad, Norge.
2013 Silkeborgudstillingen 2013, Kunstcentret Silkeborg Bad.
2013 Biennalen for Kunsthåndværk og Design, Rundetårn København.
GRANTS and AWARDS from 2007
Kunstforeningen af 14. August legatet. 2007
Statens Kunstfonds 3 årige arbejdslegat. 2008
Biennaleprisen. 1995 og 2013
Nationalbankens arbejdslegat 2014
Hædersydelse fra Statens Kunstfond 2014
MEMBER OF Boutique for Table-setting and Carpenters Autumn Exhibition.

Ann Linnemann - LINK - ceramic pieces
"I am interested in the secret layers of the work. The dreamy and nebulous hiding in the object's concrete reality. The dialogue with the viewer and the story that underlies the experience.”
BIOGRAPHY (b. 1957)
EDUCATION School of Art & Design, (Art Achademy), ceramics, 1983–1989
SELECTED EXHIBITIONS
2016 Forms of Forrest, Lacoste Gallery, Maine, USA.
2013 Contemporary Spins on Blue & White Ceramics, Lacoste Gallery, USA.
2012 Illusion – inspiration of Italien (solo), Ann Linnemann Gallery, DK.
2009-11 Taking Time: Craft and Slow Movement, travel exhibition, UK.
2009 Ann Linnemann (solo), Helen Stephens Gallery, Sydney, AU.
2008 Blue Room, Scottish Gallery, Edinburg, UK.
2008 Porcelain, JamFactory Contemporary Gallery, AU.
2005 Body Blue - Paul Scott UK & Ann Linnemann, Galleri Nørby, København.
2001-04 Kilns of Denmark, travel exhibitioni USA, Europa.
1999 Biennial for Crafts og Design, Trapholt Art Museum.
1997 Formation (solo), Gallery Nørby. - Danish Ceramic Triennial, Trapholt.
GRANTS and AWARDS
Statens Kunstfond treårigt stipendium 1998; Rejselegat 2011,04, Arbejdslegat 2008,96,94, Præmiering 2009. Ole Haslunds Kunstnerlegat, Helpmann Academy Award AU, Danske Keramik Triennalepris. Danmarks Nationalbanks Jubilæumsfond, Banff Arts Centre Award CA, Knud Højgaards Fond, Thomas B. Thriges Fond..
PUBLIC DANISH COLLECTIONS
Danmarks Keramikmuseum CLAY, Designmuseum Danmark, International Ceramic Research Center, NyCarlsberg Fondet, Næstved Museum, OJD-Fondet, Statens Kunstfond, Trapholt Kunstmuseum.

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UNEVEN SPACES - C.Thorup Apr-May 2016

March 14, 2016, 10:16 am

≫ Next: BARBRO ÅBERG - Exhibition May-June 2016

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UNEVEN SPACES
Charlotte Thorup DK
Exhibition 7 April – 4 May 2016
Opening reception Thursday 7 April at 16-19.00
Artist talk Saturday 16 April at 15-17.00

Module by module leads to a new form - small ceramic entities become one..

Quadratic and modeled clay sticks are formed into simple modules, put together with the intention at all time to develop the shape, and eventually turn into one work.
The idea behind the pieces is a study of spatial proportions.
The piece's geometric constructions reveal a refined organic logic.

Charlotte Thorup is occupied with pattern and repetition, spatial dimensions, contrasts and connections.
The inspiration appears from the city's architecture and the symmetry og nature, reflecting an investigation of visual impressions and sensations - a field of harvest pattern or a building where the attention is caught.
Thin and heavy elements are put together in complex compositions, while simplicity rules in the pieces material contrasts, where light and shadow effects create 'colour'.

Multiple parts are assembled into one entity of organic metamorphosis.
The combination of porcelain and stoneware emphasizes the contrasts, while supporting light and shadow effects of the glaze colour combinations and tactile material qualities of matte and glossy surfaces.
The variation and span of pieces reflect the idea concept.

NETWORK - DIALOGUE - CONNECTION - CONTRAST - PROCESS - SPACE - ORGANIC - ARCHITECTURAL - CONSTRUCTION..

CHARLOTTE THORUP: ”By constructing a piece in module structures occurs a network of links. For the exhibition FORM LANGUAGE in 2014, I worked from the word 'Connections'. This I have explored further and created numerous of new works in various ways to associate and relate to space, proportion and repetition.

A long concentrated period of work has given room for contemplation. In this process, I have had time to develop and follow the idea's progression.
Where I previously made wall objects in square and rectangular shapes based on repetition and rhythm, the new pieces have emerged from this new form idea that sparked my curiosity and led me to experiment in a new way with my material.

I have chosen to combine stoneware and porcelain bearing in mind the material contrasts in heaviness/ lightness and strength/ fragility - and have investigated the light and shadow effects, glazes tactile qualities such as matte/ glossy and different colour combinations.
The exhibition reflects this process in a variety of both free-standing and wall objects works.

I have pursued achieving a resonance with the viewer and the work on a sensible level, with the possibility of dialogue on life's basic conditions, such as contrast, space, light and shadow..
My intention is to add a simplified expression to a poetic and architectural narrative, reinforced by virtue of the clay, glaze, firing and hand imprint."

CHARLOTTE THORUP was born in 1973. She graduated in 2000 from the Glass and Ceramic School - Bornholm (Academy's Design School), has traveled and studied abroad from England to Australia, she lives and has her studio in Svaneke on the Danish island of Bornholm.

Thanks to The Esther & Jep Fink's Foundation for Architecture and Crafts for Funding to Charlotte Thorup 2015.
Thanks to The Danish Arts Foundation Project Fund for funding in 2016.

BIOGRAPHY
CHARLOTTE THORUP - born in Denmark 1973

www.charlottethorup.dk

EDUCATION
1997-2000 Denmarks Design School – Bornholm (Royal Danish Art Academy)
1995-1996 Århus Art Academy.
1994 Art School Firenze, Italy.

SELECTED EXHIBITIONS
2015 Kunsthåndværkerprisen af 1879, Officinet, Copenhagen, DK
Resonans, Lyngby Kunstforening, DK
Definition, Officinet, Copenhagen, DK
2014 Unik Keramik, Køge, DK
New Meets Old, Hiorts Fabrik, Rønne, DK
Lystens Strukturer, R2 Galleri, Svaneke, DK
Formsprog Og Tankespind, Ann Linnemann Galleri, Copenhagen, DK
Fantastic Tales, The Ceramic House, England.
2013 Definition, Finland.
2012 Behold, Ann Linnemann Galleri, Copenhagen, DK
Kunsthåndværkerprisen af 1879, Nationalmuseet, Copenhagen, DK
2011 Den næste generation, Roskilde, DK
Et Strejf af…, Ann Linnemann Galleri, Copenhagen, DK
2010 Wawerhythmfold, Galleri Klejn, Bornholm, DK
Decade one, Danmarks Designskole, Bornholm, DK
”Hot Spots ”, Museion No. 1, Budapest
2009 Landmarks, Flow Gallery, London, UK

GRANTS AND AWARDS
Esther og Jep Finks Mindefond for Arkitektur og Kunsthåndværk, 2015. Kunsthåndværkerprisen af 1879, Annie & Otto Johs. Detlefs´ Almennyttige Fond, Sølvmedalje, 2015, bronzemedalje og rejselegat, 2012. Statens Kunstfond, arbejdslegat, 2014. Beckett Fonden, 2014. Kunstrådet Bornholm, 2014. Grosserer L.F. Foghts Fond, 2014, 2013, 2010. Danmarks Nationalbanks Jubilæumsfond af 1968 2014, 2013, 2007. Fridtmodt-Heineke Fonden, 1999, 2009. Knud Højgaards Fond, 2009, 2007, 2003, 2001. Rejselegat, Svanekegårdens Censurede Efterårsudstilling, 2007. Martha og Paul Kerrn-Jespersens Fond, 2002. The Scandinavia-Japan Sasakawa Foundation, 2002. Toyota Fonden, 2002. Det Reiersenske Fond, 2000.

↧

BARBRO ÅBERG - Exhibition May-June 2016

April 27, 2016, 4:55 am

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BARBRO ÅBERG
Exhibition 12 May – 11 June 2016

Sculptural ceramics about time, memory and life

Barbro Aberg challenges the melting point in lava-like materials, composing pattern and structure in natural rhythm of process in which the apparent recognisability surprises with unknown sequences and richness of detail.

The pieces emerge from a personal insistence of developing an individualistic idiom of form.
Inspired by microscopic fossils combined with thoughts about time, memory and ways of life, she achieves a fusion of nature and culture.

Even when the bowl or vase appears, it is in form of the archetype.

Barbro Åberg: ”I relate to the impulses from the world of fantasy that can transform inspirations and sketches into three-dimensional pieces.

The exhibition pieces 'Texted Eggs' are a new line in my artistic work.
The ideas for these came out of a quick brainstorm.

The pieces have evolved into a combination of sculpture/ musical instrument or meditation object. Each object carries its own tale, its own note.

The exhibition also presents 'Entangled Pieces' a theme I have worked with for the past years.

The viewer, with no affiliation to ceramics as an artistic expression, is often astonished seeing my work - my special clay, the modelling and final expression.

I work mainly with the sculpture and object, - and when the bowl or vase sneaks in - it is in the form of an archetypal sculptural unique piece.

The clay is a mixed clay with the volcanic material perlite and paper fibres. The surfaces consist of various 'terra sigillata' or colours.

My inspiration are shapes, patterns, textural surfaces both in nature and down to the microscopic level, as well as in our man-made culture, including architecture and engineering.
In addition, I photograph and use the visual impulses from the photographic process as a kind of visual memory.”

BARBRO ÅBERG was born in 1958 in Umeå, Northern Sweden.
Danish married, working and living in Denmark since 1986.
EDUCATION at Arts&Crafts School in Kolding, DK 1986-88 and Konstskolan in Uppsala, Sweden 1984-85.
Member of IAC International Academy of Ceramics.
EXHIBITIONS - Gallery Pagter 2015; Gallery Lerverk, Göteborg, Sweden 2014; Biennial Parcours Céramique Carougeois (Prix du Public) Galerie Tiramisu, Schweiz 2013; Denmark's Ceramics Museum CLAY 2011-12; International Ceramic Festival Sasama, GIFU Museum, Japan 2011; Space Between Thoughts, Galerie Hélène Porée, Paris 2010; Gallery Nørby, Carlin Galerie m. Thiébaut Chagué, Paris and Meister der Moderne, Handwerkskammer of München 2005; From the Kilns of Denmark, travel exhibition USA, Paris, Berlin 2002-04..
ART FAIRS: SOFA New York og SOFA Chicago/ Lacoste Gallery 2008-12; SOFA Chicago/ Snyderman Gallery 2007, Gallery Nørby 2006; 2014 Collect London/ Cultural Connections, UK and International Fine Art & Antique Show/ Maison Gerard, New York.. See more: BIOGRAPHY..

Thanks to The Danish Arts Foundation for Project Funding of the Gallery in 2015-2016.

BIOGRAPHY - BARBRO ÅBERG www.barbroaberg.com
Born in 1958 in Umeå, Northern Sweden. Danish wed, living in Denmark since 1986.
Member of IAC International Academy of Ceramics since 2007.

EDUCATION
1986-88 Arts&Crafts School – Kolding. Ceramics & glass.
1984-85 Konstskolan i Uppsala, Sweden.
1983 Student, Susan Steinman, Berkely, USA.
1979-82 Art Education Clackamas Community College, Oregon City, USA.

JURIED EXHIBITIONS
2004 Biennale de la Sculpture en Céramique, Mamer, Luxembourg.
1993 Fletcher Challenge Ceramics Award, New Zealand.
1993,90,89 Artists Easter Exhibition Århus, DK.
1991 Charlottenborg Spring Exhibition, DK.
1988 Artists Summer Exhibition in Tistrup, DK.

SOLO EXHIBITIONS - SELECTED
2016 Potential Spaces, Kaolin, Stockholm.
2015 Entangled, Galleri Pagter, DK.
2014 Galleri Lerverk, Göteborg, Sweden.
2013 Galerie Tiramisu, Carouge, Schweiz.
2011-12 Erindring & Erkendelse. Denmark's Ceramics Museum CLAY, Funen.
2010 ”The Space between the Thoughts”, Galerie Hélène Porée. Paris.
2010,07,04 Galleri Jytte Møller, Frederici, DKa.
2008 Keramisch Centrum Nederland, Haarlem, Holland.
2005 ”Tanker om Tid”, Galleri Nørby, Copenhagen, DK.
2003 ”Spår av tid”, Blås & Knåda, Stockholm.

GROUP EXHIBITIONS & TWO-PERSON SHOWS - SELECTED
2015 Nature/Return. Det Ny Kastet, w. I.Ørntoft, S.Rasmussen, T.Andersson
2014 The Structure of Lust, Galleri R2, Svaneke, DK.
2013 Masterpieces - miniature, Ann Linnemann Gallery, København.
2012 Danish Clay w. Hans Vangsø. Lacoste Gallery, USA.
Drawing the Empty Space. w. XXIInd Biennale of Vallauris, Frankrig.
Gallery Hu, Nagoya, Japan
2011 Verkehr Museum & International Ceramic Festival, Sasama, Japan.
2006 PULS, Bruxelles. w. Jonathan Keep, UK.
2005 Carlin Gallery, Paris. w. Thiébaut Chagué.
2001 ”Metamorfose”, International Ceramics Biennial, Austria- Danmark.
2002-04 From the Kilns of Denmark. Travel exhibition USA-Paris-Berlin..
”Céramique Contemporaines Danoises”, Carlin Gallery, Paris.
”Keramik aus Dänemark”, Keramik Galerie Hilde Holstein, Bremen.
1997 ”Keramiktriennalen”, Trapholt Art Museum, DK.
“Danish Ceramics 1850-1997”, Sophienholm, DK.
1999 “Standpunkte”, Keramikmuseum Keramion, Frechen, Germany.
Material: Earth - Size: Small, Schweiz.
2005 ”Meister der Moderne 2005”, Handwerkskammer of München.
2007 The Works Gallery, Philadelphia, USA.
2008 Danish Ceramics. Lacoste Gallery, USA.
The Museum of Modern Ceramic Art, GIFU, Japan.

ART FAIRS - from 2006
SOFA Chicago, SOFA New York, COLLECT London, International Fine Art & Antique Show, New York,USA.

FUNDS & AWARDS
Danish Arts Foundation, Denmark's National Bank Foundation, Painter Koefoeds Fund, Danish Crafts, Anna E. Munchs Legat, Frimodt-Heinke Fund, Politikenfondet,Grosserer L.F. Foghts Fond, Esther & Jep Finks Mindefond for arkitektur og kunsthåndværk, Danish Crafts, Dalhoff-Larsens Fond..

REPRESENTATION IN COLLECTIONS
Musée de Carouge, Schweiz, GIFU-Museum of Modern Ceramic Art, Japan, Danish Arts Foundation, Ny Carlsbergfondet, Designmuseum Danmark, Statens Konstråd, Sverige, Kunstforeningen af 14. august, Keramikmuseum CLAY, Internationalt Keramisk Center - Guldagergaard, Aarhus Kommune, Skanderborg Kommune..

↧

HORIZONTAL - VERTICAL June-Aug 2016

June 6, 2016, 11:14 am

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HORIZONTAL - VERTICAL
Exhibition 16 June – 13 August 2016
Opening reception Thursday 16 June at 16-19.00
(Summer closed 23-31 July)

New connections.. artists, vessels, sculptures and wall pieces.

Guest exhibitors Eva Brandt, Vibeke Krog and Better Lübbert present vessels and sculptures that are arranged with selected Danish and international pieces from the Gallery's large ceramic collection.
The exhibition plays on horizontal and vertical synergies by combining vessels and wall objects in various contexts and juxtapositions - new stories in form of assemblage.
Wall objects include Michael Jackson, Marianne Nielsen, Esben Klemann and other selected works from the 'collection'.
The focus is on exciting combinations, thoughtful contrasts, hidden and unknown harmonies - of tradition and innovation, nature and geometry, pattern and image, love of colour and richness of nuances.

Eva Brandt exhibits hand modelled vessels inspired by nature, geology and landscapes from the island of Bornholm and Iceland, Vibeke Krog shows covered vessels, sculpture and image in one, graphical and simple inspired by Egyptian tomb paintings, and Better Lübbert shows porcelain jars with 'free flora narratives' and 'father's herbarium'.
Eva Brandt works on Bornholm, Vibeke Krog on Himmelbjergvej in Jutland and Better Lübbert in Hundested, North Zealand. They are almost the same age and all educated at the School for Applied Arts, but from different time periods.

EVA BRANDT "I am inspired by nature - plants, sea life, powerful geological processes, and by transformation of the Earth's raw materials through time.
I work with inspiration from geology and landscapes around me, especially Southern Bornholm and more recently Iceland, which I hope to return to.
The work process usually include photography on the sites and idea sketches later. I seek to express the sense of inner life or extra refined dimension of the rough and physical - I'm happy when the jar, that way, comes 'alive'.
The exhibited pieces are large vessels modeled through many days. The shape is for me an archetype, a being or a heart shape. The clay is a rough stoneware. I work a lot with surface structure and a sense of transparency and depth of color layers. Moreover, often graphic evidence that suggests life."

Eva Brandt lives and has her studio on the Danish island Bornholm.
She was born in 1954 and educated at the School of Applied Arts in Copenhagen 1975-80. Awarded the Ole Haslund Artist Award 1989. Study residency New Mexico 1996.
SELECTED EXHIBITIONS - 2001 Spring Exhibition at the Bornholm Museum w. Horst Zickelbein - 2003 Kunsthal Brænderigaarden, Viborg - 2006 'Bornholmsk studio pottery over 100 years' on 'The New Kastet', Thisted - 2008 'Talking Pots' solo show at the Clay International Ceramic Museum and Grønbechs Gaard -
2009 'Landmarks' Flow Gallery London - 2013 Gallery Oxholm, Copenhagen - 2015 "From time immemorial 'solo, Grønbechs Gaard, Hasle - 2015" White Show' Flow Gallery, London. Has also received AWARDS from the Danmarks Nationalbank's Jubilee Foundation, Oticon Foundation, Georg Harms Grant and Martha and Poul Kerrn-Jespersen's Fund. REPRESENTED in collections both in Denmark and internationally, including The Rosenfield Collection.

VIBEKE KROG "The idea for 'lid boxes' were (at the School of Applied Arts) to make a vase with lids, thus a functional thing. So be able to be with or without lids according to use. However, I think it was a little lost in thought, and I was eager to see the actual shape as sculpture and photo in one.
So far I have worked with small changes in the form and the painting has become more strict and is experienced as if there are more layers, more depth.
I work graphically, simple and tight.
My sculptures are built in slab-technique, shaped like narrow 'boxes' being lifted up by the feet. I work in red clay, which forms a fine, dark background for my way of painting with slips. To achieve contrast to the matte, smooth surface I glaze selected areas.
The germ of my painted sculptures takes its beginning many years ago on a trip to Egypt. The journey included, inter alias a visit to the temple town of Karnak besides visiting various graves.
In addition to architecture, I was very inspired by the softness and ceramic textural effect found in Egyptian tomb painting."

Vibeke Krog lives and has her studio on the Himmelbjergvej in Silkeborg.
She was born in 1953, was a student 1976-77 with John Terragni (Jyske Academy Aarhus), 1978-79 Free Studios Gudhjem, and educated at the School of Applied Arts (Danish Design School) 1981-85. Has had her own studio since 1988.
EXHIBITIONS Ceramics Europe 13 Westerwaldpreis 2014, Ceramics Museum Westerwald, Vessel Sculpture, Grassi Museum für Angewandte Kunst, Leipzig 2013 "Sensations", Heltborg Museum, 2013 The New Kastet 2012 Contemporary Danish Ceramics, Ceramics Centres Tiendschuur Tegelen, The Netherlands, 2005. She distributes through LERTØJ (Earthenware shop/gallery) Aarhus.

BETTER Lübbert "To work in craftsmanship and with a material always have consequences and a natural abstraction. I work with proportions and dimensions. The jar's existence in time and space, corpus in relation to the human body, the detail in relation to the whole.
From an intact, beautiful and fragile herbarium combined with observations of nature and fantasy, I proceeded on the Danish flora, basically with my own sense of story and a herbarium my father had gathered as a young biologist.
I translate the Danish plants to silkscreen print - in a fairly free process where more prints can be put on top of each other, scratched in and painted over etc.
On the large, historic shelf is the Flora Danica radiating, boastful and welcoming me. With great respect for history and a desire to connect the past with our time, I start somewhere else and tells in the present moment of my love for the seen, the connected, the lived, the noted, the physical and the marvellous."

Better Lübbert lives and the has her studio in Hundested; North Zealand.
She was born in 1955; graduated from the Danish Design School, Copenhagen 1988-94.
TRAVELLING EXHIBITIONS "From the Kilns of Denmark" in Museums and the Galleries the US and France and "Unique_ in Europe. ART FAIRS Art CopenhagenForum, Art Herning, Art Aarhus, Art Miami, USA.
EXHIBITIONS Danish Ceramics Triennale Trapholt; Biennale 2004 Trapholt Art Museum and the North Jutland Art Museum; SOLO EXHIBITION Gallery Jorgen Ostergaard, Ikast; Galerie Wolfsen Aalborg; Gallery Kolding; Gallery DGV, Svendborg; Oxholm Gallery, Carl Hansen & Son; Copenhagen. EXHIBITS AND ORGANISER _MY ROOM" Sophienholm. TRAVEL to India, Istanbul, Turkey, Portugal, Cuba, Costa Rica, Central America, France, Italy. GRANTS include Danish Arts Foundation; Danish Crafts. Danmarks Nationalbank's Anniversary Foundation and the Ole Haslund Travel Grant and Arts&Crafts Award of 1879, bronze, silver medal and the travel grant.

Thanks to The Danish Arts Foundation for Project Funding in 2016.

BIOGRAPHIES

EVA BRANDT - www.evabrandt.dk
Born in 1954.
Member of ACAB (Arts & Crafts Association Bornholm) og Danish Crafts&Design Association

EDUCATION
1975-80 School of Applied Art (Academy of Art&Design), Copenhagen

SELECTED EXHIBITIONS
2016 ’Earthbound’, Gudhjem Museum, Bornholm
2015 ‘White Show’, Flow Gallery, London
2015 ‘Fra tidernes morgen’ solo, Grønbechs Gaard, Hasle
2014 ’10 keramikere fra Bornholm’, Gudhjem Museum
2013 Galleri Oxholm, København
2012 ’Havet’, Rundetårn, Copenhagen
2011 ‘Den næste generation’, Roskilde
2010 ‘Hot Spots’, Museion no 1, Budapest, Ungarn
2009 ‘Landmarks’ , Flow Gallery, London
2008 ’Talking Pots’, solo, CLAY, Danmarks Keramikmuseum, Fyn
'Talking Pots’, solo, Grønbechs Gård, Hasle, Bornholm
2006 ’Bornholmsk værkstedskeramik gennem 100 år” ’Det Ny Kastet’, Thisted
2004 Rundetårn, Copenhagen
2003 Kunsthal Brænderigaarden , Viborg
2001 Forårsudstillingen w Horst Zickelbein, på Bornholms Museum

PUBLICATIONS
2003 Katalog ”– og sådan blev det” 2008 Ceramic Arts & Perception no.78
2008 Udstillingshæfte egen udgivelse “Talking Pots” (Eva Brandt)
2007 “Bornholmsk værkstedskeramik gennem 100 år” (’Bornholm Studio Ceramics Through 100 Years’)
2015 ”En stilfuld keramisk odyssé” Artikel+forside, ”Jul på Bornholm” (kulturhistorisk tidsskrift)

VIBEKE BORRESEN KROG www.vibekekrog.dk
Born in 1953.
Member of The Danish Crafts&Design Association and LERTØJ, Aarhus

EDUCATION
1981-85 School of Applied Art (Academy of Art&Design), Copenhagen.

SELECTED EXHIBITIONS
2014 Keramik Europas, 13. Westerwaldpreis 2014 Keramikmuseum Westerwald
2013 Vessel Sculpture, Grassi Museum für Angewandte Kunst, Leipzig. “Sansninger” Heltborg Museum,
2012 Det Ny Kastet, Thisted  - Tinghuset Brædstrup - Klitgården Tranum - Stengalleriet Horsens  
2011 Sommerudstilling Galleri Pagter,  Kolding – Påskeudstilling Galleri Stenseminde, Aalborg.  
2011 Galleri Pagter Kolding 
2010 Galleri Færch-P Påskeudstilling
2009,08 Brønderslev Påskeudstilling
2009,06 Galleri Humlum Gl. Skole
2005 Moderne Dansk Keramik, Keramiekcentrum Tiendschuur,Tegelen Holland
2004 Galleri Silkeborg Kunstnerhus - Galleri Pictor, SE Munka Ljungby
2003 Udsmykning Arepa, Silkeborg -
2003 Galleri Humlum, Struer - Købmandsgården, Skælskør - Ålborg Kunstpavillon
2001 Silkeborg Udstillingen - Galleri Garlishèe

ART FAIRS
Arts&Crafts Fair Frue Plads, Ovnhus, KIC Århus, Skals Fair, Chelsea Crafts Fair-London 2004 exhibitions in Arts Associations.

BETTER LÜBBERT www.better-lubbert.com
Born in 1955
Member of Halsnæs Town Lokal Arts Council.

EDUCATION
1988-90 School of Applied Art (Academy of Art&Design), Copenhagen
1991-94 School of Applied Art (Academy of Art&Design) Institut for Unika.

SELECTED EXHIBITIONS
2016 ”North” Ålborg med Galerie Wolfsen - ”Greatest hits” Galleri DGV
2015 Solo, Oxholm Gallery, København - ”Kvadrat, kugle og kube” Kunstmuseet Brundlund Slot, Åbenrå
2014 Separatudstilling Galleri Carl Hansen & Søn, Bredgade, København
”Form Language", Ann Linneman Gallery - ”Masterpieces” Galerie Wolfsen, Aalborg
2013 La Primavera. Huset i Asnæs, med billedkunstner Inka Sigel
2012 Galleri DGV. Villa Tårnborg m. Tom Krøjer
2011 ”More than Yellow” Galleri Wolfsen
2010 Galleri DGV, m. Yoshio Nakajima, Tom Krøjer, Dorte Lausten, Maurice Wyckaert, Gunleif Grube.
2009 Seperatudstilling ”I skovens dybe stille ro” Galleri Wolfsen - Kulturspinderiet, Silkeborg
2008 ”Grand Opening”, Galleri Wolfsen - Det danske Centralbibliotek, Flensborg med billedkunstner Inka Sigel
2007 Galleriet Kolding, soloudstilling - Contemporary Ceramics, Galleri Wolfsen, Ålborg
2006 PRO, Charlottenborg, København - Soloudstilling Galleriet Jørgen Østergaard, Ikast.
Kunstnersammenslutningen Grænselandsudstillingen, Sønderjyllandshallen, Åbenrå
2005 ”MY ROOM”, Sophienholm, Kgs. Lyngby.
”Krukken og Billedet”, Officinet, Kbh. - ”Andre Himmelstrøg”, Galleriet, Kolding. w Carin Faaborg
2004 ”Biennalen 2004”, Trapholt Kunstmuseum, Kolding – Nordjyllands Kunstmuseum, Aalborg 2005
”Céramiques contemporaines danoises”, Maison du Danemark, Paris
2003 ”Fortællinger fra Mellemøsten”, Galleri Epoke, Vejle, w Carin Faaborg
”Kompositioner”, Galerie Susanne Højriis, Copenhagen
2002 ”Danish – American Contemporary Art”, Galerie Susanne Højriis, Copenhagen
2001 ”Skulpturel Form”, Grimmerhus Keramikmuseum - Galleri Nørby, Copenhagen - Galleri Epoke, Vejle
Galerie Wolfsen, Aalborg. Med billedkunstner Bente Christensens Ernst
Ambiente Messen, Frankfurt, Tyskland
2000 ”Den 3. Danske Keramiktriennale”, Trapholt Art Museum
PRO. Charlottenborg. Copenhagen
Galerie Am Kamp, Teterow, Tyskland

TRAVELLING EXHIBITIONS "From the Kilns of Denmark" in Museums and the Galleries the US and France and "Unique_ in Europe.
ART FAIRS Art Copenhagen, Forum, Art Herning, Art Århus, Art Miami USA.

REPRESENTED IN PUBLIC COLLECTIONS
Danish Arts Foundation, Designmuseum Danmark, CLAY, Aarhus Town.
Sold to Her Majesty Dronning Margrethe 1994.

FUNDS & AWARDS
Danish Arts Foundation 1995,97, 99, 2000,01,02,03. Danish Crafts. 2000, 02. Danmarks Nationalbank's Anniversary Foundation 1996,97, 2000,13. Arts&Crafts Award of 1879, bronze 1995, silver medal and the travel grant 1996.
Ole Haslund Travel Grant 2006, and K.A. Lassens og hustru L.M Lassens født Thodbergs Legat. Ellen og Knud Dalhoff Larsens Fond. Krista og Viggo Petersens Fond. Det Reiersenske Fond. Konsul George Jorck og Hustru Emma Jorck`s Fond. Artist residency at Statens Værksteder for Kunst og Håndværk, Gl. Dok.

PROTOTYPES NW1, Normann Copenhagen for Furniture Fair Milan 2009

↧

GEOMETRY OF MATERIAL Aug-Sep 2016

August 8, 2016, 1:32 pm

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GEOMETRY OF MATERIAL- Fragments of life
Heidi Hentze DK
Exhibition 18 August – 17 September 2016
Opening reception Thursday 18 August at 16-19.00

Paper thin organic-geometric constructions in porcelain.

Heidi Hentze investigates porcelain and glaze in poetically folded pieces, that seem like magic.
With inspiration from architecture and origami, she challenges with a superior technical ability the classic slab-technique, material and gravity.
Geometric constructions are meticulously composed of paper-thin clay sheets.
Melting points and temperature in the less controllable firing process add to the piece an organic sensuality, where deformation becomes a beauty of decay, a poetic tale.
An atmosphere of fragile existence and presence of the absent, are often focal points in Heidi Hentze's delicate pieces that hide her secret personal stories.
(Photos of previous and new pieces)

HEIDI HENTZE: "The inspiration for this exhibition derives from human fate and living conditions in my own and our time.. News, Facebook, friends, family, homecare job.
Fragments of life stories are picked out, combined, associated and translated into implicit narratives in ceramics.

News media images of bomb shot houses and people fleeing, combined with friends' divorces and broken-up homes, are the focal points for what have later developed into deserted bird nests.

The stories have been my starting point, but are not essential.
Since I work with the two unknowns - thin porcelain and crater glaze - it seems that unexpected things will happen in the firing process.
I have allowed myself to be open to the visual changes and give-aways that might occur, although at times I have had to 'compromise' with the intended story and crafted perfectionism.
The free approach to the material is an amazing process..
I am building four blue diamonds. The shape of them is a combination of the diamond's eternity and flower's impermanence - from bloom to blossom. These are built in a combination of computer drawing and hand-formed slab technique.
The number 4 appears in several of my works. In many Asian countries this figure has the same wording as the word death. 'Tetra Phobia' is a concept.
(Wikipedia: Tetra Phobia is an aversion or fear of the number 4. This superstition usually occurs in East Asian countries such as China, Japan, Korea)

Photos: Tetra phobia.. Time - a love story.. My censorship.. Ruder.. Diamond..

The piece 'Ruder' in white will be on show in Boston. In addition I build a green set in porcelain."

In recent years, Heidi Hentze has worked with material research - from simple cylinders to very advanced foldings of graphic constructions, analyzing of building spaces, collocated installations and colours' influence on form geometry. With professional knowledge, doubts and curiosity, she looks towards a philosophical and ethical meaning in her pieces.

HEIDI HENTZE was born in 1975. She lives and has her studio on the island of Bornholm.
EDUCATION Glass & Ceramics School - Bornholm (now KADK*, Royal Danish Academy, School of Design) 2006.
Previously exhibition in Ann Linnemann Gallery "FRAGILE" with Bodil Manz, Malene Müllertz and Jane Reumert in 2012 and "MASTER PIECES - miniature" in 2013. In recent years she has participated in several international exhibitions: ”Form.Frei” Gottorf Slot, Slesvig, DE - ”59th Premio Faenza”, International Competition, Italien - ”Ceramics of Europe” Europa-Parlament, Strasbourg, FR - ”10th International Ceramics Competition, Mino”, Japan - ”13th Westerwald Prize 2014”, Höhr-Grenzhausen, DE - ”COLLECT”, Saatchi Gallery, London - ”Fantastic Tales” Brighton, UK - Art Festival 2013, Funasaka, Japan - ”Collect in the Country 2013”, Cultural Connections, UK.. Selected Danish exhibitions are ”The Biennale for Craft and Design 2013” &”HAVET” ACABs 10-years Anniversary, Copenhagen. AWARDS National Danish Arts Foundation, Danmarks Nationalbank's Anniversary Foundation., Ole Haslund's Artist Award, OJD Foundation..

Grateful thanks to The Danish Arts Foundation’s Committee for Crafts and Design Project Funding of Heidi Hentze and The Gallery's exhibitions in 2016.

BIOGRAHY - Heidi Hentze www.heidihentze.dk
Born in 1975

EDUCATION
2002-06 The Glass and Ceramic School, Bornholm, Denmark.
(Now: KADK - *Royal Danish Academy of Fine Arts, School of Design)

WORK EXPERIENCE AND COURSES
2013 Symposium & Artist talks, Gyeonggi int’l Ceramix Biennale, South Korea.
2012-14 Member of the municipality arts council on Bornholm, DK.
2010- Member of ACAB (Arts & Crafts Association Bornholm), DK.
2009 Artist in residence. Sarayacu, Pastaza, Ecuador
2006 Network 06, Guldagergaard, Skælskør, DK.

SELECTED EXHIBITIONS
2016 Danish Talents, Lacoste Galery, Boston, MA, USA.
”Geometry of Material” Solo exhibition, Ann Linnemann Gallery, DK
2015 ”Keramik Europas”. Form Frei, Gottorf Castle, Germany.
”59th Premio Faenza” International Competition of Contemporary Ceramic Art, Italy.
”Ceramics of Europe” Selected, European Parliament, Strasbourg, DE.
2014 ”13th Westerwald Prize 2014” Höhr-Grenzhausen, Germany.
”10th International Ceramics Competition, Mino” Japan (Honorable Mention).
”New meets Old” Hjorths Fabrik, Rønne, Bornholm, DK.
”Bornholmske keramikere” Gudhjem Museum, Bornholm, DK.
COLLECT, Saatchi Gallery, London. CC, UK.
”Fantastic Tales” Danish Contempory Ceramics, Brighton, UK.
2013 Art Festival, Funasaka, Japan.
”Collect in the Country 2013” Cultural Connections CC, UK.
”The Biennale for Craft and Design 2013” Roundtower, Copenhagen, DK.
”Art in Clay” Pottery & ceramics Festival Hatfield House, Cultural Connections, UK.
”MASTERPIECES–miniature” Ann Linnemann Gallery, Copenhagen, DK.
2012 ”The Sea”” Art&Craft Bornholm 10 years anniversary, Roundtower, Copenhagen, DK.
”FRAGILE” Manz, Müllertz, Reumert & Hentze, Ann Linnemann Gallery, Copenhagen, DK.
2011 ”Havet/The Sea” Müllers Pakhus, Thorshavn, Faroe Island.
”Arts and Crafts Award of 1879” Design Museum Denmark, Copenhagen, DK.
2007 ”Network” International Ceramic Museum, Funen, DK.
2006 Form/Design Center, Malmo, Sweden. The Bornholm Art Museum, Rø, DK.

GRANTS & AWARDS
2016 National Danish Arts Foundation, project.
2014 Danmarks Nationalbank's Anniversary Foundation.
Bornholm's Arts Award.
2013 Brødrene E., S. & A. Larsen, travel grant.
Danmarks Nationalbank's Anniversary Foundation.
2012 Ole Haslund's Artist Award, travel grant.
Bornholm's Juried Spring Exhibition Award .
2011 Annie og Otto Johs. Detlefs´ Foundation
Kunsthåndværkerprisen /Arts and Crafts Award, bronze
Arts and Crafts Award, travel grant

REPRESENTATION IN PUBLIC COLLECTIONS
Kirsten Kjær Museet, OJD Fonden, Svanekegårdens Kunst og Kulturforening, MIC - International Ceramics Museum Foundation of Faenza, Italien.

↧

APPLICATION FORM - EXHIBITION

January 1, 2016, 3:21 am

≫ Next: NORDIC NUANCES Sept-Oct 2016

≪ Previous: GEOMETRY OF MATERIAL Aug-Sep 2016

APPLICATION FOR EXHIBITION
_______________________________________________________
Christmas exhibition 2016 - TOY
APPLICATION DEADLINE: 20 September 2016
See exhibition description: Exhibition program 2016
Only accepted applicants will receive an answer
_______________________________________________________
PLEASE SEND THE FOLLOWING TO THE GALLERY:
Copy and fill in the APPLICATION FORM in a new document
Please use your name in the document-title and photos!
- SEND text-document and photos by email to the gallery
- for application, exhibition agreement, website, PR etc.
_______________________________________________________
APPLICATION FORM
Exhibition: Title.. - Month, Year
Exhibitor - Name:
Date, Place of Birth, and Nationality:
Address:
Country
E-mail:
Tel./Mobile:
Website:
1. PROPOSED EXHIBITION TITLE/work title:
+ 5 SAMPLE IMAGES OF YOUR WORK (JPG/1M)
Please include permission for publication, captions and name of photographer
+ SHORT STATEMENT about your work, ideas and aims. See following:
2. Please DESCRIBE YOUR WORK – be precise, without repetition (max. 150 words)
A. Give a short general statement about your work and artistic concept.
B. Describe your new work and project - how it differs from your previous pieces.
C. What do you think makes your work distinctive or special?
D. Why does it appeal to an audience?
E. Describe the materials, techniques and forms of your work
- vessel, object, sculpture, installation..?
F. What inspires you?
G. Education, study and training?
H. List your 10 most important professional experiences (max ½ A4-page = 150 words)
- i.e residencies, exhibitions, reviews, awards, publications, etc.
_______________________________________________________

DEADLINES for TOY exhibition 2016
20 SEPTEMBER - APPLICATION for the exhibition
Only accepted applicants will receive an answer

1 NOVEMBER - New text and photos (accepted artists only)
22-25 NOVEMBER - Shipping delivery
30 NOVEMBER - Set up the exhibition
1 DECEMBER - Opening reception at 16-19.00
(+dinner for exhibitors – sign up!)

↧

NORDIC NUANCES Sept-Oct 2016

September 8, 2016, 7:15 am

≫ Next: SLEIGHT OF HANDS.. Oct-Nov 2016

≪ Previous: APPLICATION FORM - EXHIBITION

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

NORDIC NUANCES
Nina Malterud & Gunhild Rudjord - Norway/Denmark
Exhibition 22 September – 22 October 2016
Opening reception Thursday 22 September 16-19.00

Nordic ceramic pieces of harmony and interaction..

Two Nordic artists exhibit new ceramic pieces that reflect colours and nature in Scandinavian tones.
Interaction and opposition of the artists' pieces, Nordic expression with each their personal uniqueness in decoration and colour delight, in pictorial, abstract patterns and colour combinations - from stylish colour choices to powerful pictorial compositions with a clear nature reference.
Both work from the plate as a basic shape for the surface, layer upon layer of textural glazes; but their artistic expressions move in different directions.

GUNHILD RUDJORD is masterful in her ability to exploit the unique transformation that takes place during ceramic firing. There are great power in her pieces that seem simple, but offer dramatic compositions, contrasts - and a particular softness of the glaze, which runs over the surface.

NINA MALTERUD achieves that her objects become alive through several layers of glaze firing, where she is looking for signs of the process, such as crackle, pinholes and other ceramic 'faults'. Artistic expression ranks higher than the useful - however, these objects are linked to a rich tradition of function.

NINA MALTERUD ”For some years I have explored plane forms with a small vibrant edge, making the object into a kind of vessel or plate. The object becomes alive and achieves its artistic value through many layers of glazing and firing. I include and build on signs of the process, such as crackles, pinholes and other ceramic 'faults'. The artistic expression rank higher than the useful - however, these objects are still linked to the rich tradition of function.
I rarely give up on a piece, but give it another chance in the kiln. I am meticulous in the final selection.

More than in earlier works I make use of the new potentials in the ceramic media and processes, especially the glaze. Material depth of colours and structures obtained through the processes.
The meeting between strict form and unexpected effects.
The objects are made of earthenware, with a roller pin and manipulation of the edges. Glaze fired at about 1060 Celsius.
My first major inspiration was the Danish-Norwegian ceramist Lisbet Dæhlin (1924-2012), but now also pre-industrial art objects and crafts from the last century until now."
NINA MALTERUD was born in Oslo, 1951. EDUCATION at the Norwegian National Academy of Craft and Art Industry (SHKS) in Oslo from 1971 to 1974. Has worked as an artist in ceramics since 1975, in Oslo and later in Bergen. Professor of ceramics at the Bergen National Academy of Arts from 1994. Rector of the Academy from 2002 to 2010. Member of the Board for Artistic Research Programme 2003-14. Various assignments as a senior adviser to the Bergen National Academy of Arts and Art in Oslo (KHIO) since 2012.
SELECTED BIOGRAPHY Solo exhibition Artist's Association (Kunstnerforbundet), Oslo 2012, after 9-year break from the studio work. Norwegian Association for Arts and Crafts, Honorary Award 2005. Solo exhibition RAM Gallery, Oslo 2003. The initiator of the journal 'Kunsthåndverk', a member of the Editorial Board 1979. Working for ceramist Lisbet Dæhlin at Frysja Art Centre in 1975, set up own workshop, later with Beth Wyller. Summer workshop with fellow students in North Norway - Completion of training in ceramics at the National College of Art and Design, Oslo 1974. www.ninamalterud.no

GUNHILD RUDJORD is masterful in her ability to exploit the particular transformation that takes place during ceramic firing process. She works primarily with the well-known ceramic archetypes - the vessel or plate as 'canvas' and creates beautifully decorated pieces where the ornamental motifs - often inspired by nature - are manifested in an exuberant interaction with glaze effects, colour depth, gloss and obvious signs of melting process.
She acknowledges an early inspiration from the renowned Danish designer, Bindesbøll (1846-1908), but has developed a very personal artistic language.

”I let the landscapes and spaces appear from the layers of slips and glazes in the firing. In my new pieces, the ornament has dissolved, there is less use of slips, giving the glazes more freedom. Several glazes are in action.
The immediate expression, material and colour delight are atmospheric and associative.
The plates are red earthenware, decorated with slip and glazed with various glazes at 1040 C.
My inspiration may be a voyage sailing along the north coast of Norway some time in September when the sea and sky, clouds and lights somehow leave an imprint on the eye.”
GUNHILD RUDJORD was born in Trondheim, 1961, educated at the Danish Design School - Kolding, 1983-87.
She lives in Faaborg and works at The Tommerup Ceramic Workshop as the glaze master since 1987, including cooperation with Bjørn Nørgaard.. SELECTED EXHIBITIONS Gallery Pagter, Kolding, 2016; Copenhagen Ceramics, 2014; Gallery Modern, Silkeborg 2013; Himmerland Art Museum 2011 and Art Center Brænderigården, Viborg, 2006; Danish Ceramics Triennial, 1994. COMMISSION PROJECTS large vase for the Danish Crown Prince Couple in 2004, 2m tall vase for Faaborg and 100 dishes for The New Carlsberg Foundation. SCHOLARSHIPS AND SALES to The Danish Arts Foundation and The New Carlsberg Foundation. Member of the Board of The ceramics museum Clay. www.keramos.dk

Grateful thanks to The Danish Arts Foundation’s Committee for Crafts and Design Project Funding of The Ann Linnemann Gallery's international exhibitions and promotion in 2016.

BIOGRAPHY

GUNHILD RUDJORD - www.keramos.dk
Born 1961 in Norway. Lives and works in Faaborg/Tommerup, Denmark

EDUCATION Kolding Design School, 1983–87.

REPRESENTED The Danish Arts Foundation; The New Carlsberg Foundation, Copenhagen; Museum of International Ceramic Art, Middelfart, DK; Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway; Sønderjyllands Kunstmuseum, Tønder, DK; Fu Le, International Ceramic Art Museum, Fuping, Xian, China.

SELECTED EXHIBITIONS Galleri Moderne, Silkeborg 2013 ; Galleri Weber with Sys Hindsbo, Svendborg 2012; Galleri Pagter, solo, Kolding, 2011; Himmerlands Museum of Art with Kirsten Klein(photography), Aars, 2011; Clausens Kunsthandel with Knud Odde, Albert Mertz, Copenhagen 2009; Kunsthallen Brænderigården, (solo) Viborg 2006; Galleri Nørby, Copenhagen, with Edmund De Waal, 2004.

SELECTED COMMISIONS 2 m vase for Faaborg, 2012; 100 plates for New Carlsberg Foundation (100 year) Copenhagen 2006; 3 m vase for the Danish Crown Prince Couple, Fredensborg 2004.

PUBLICATIONS Contemporary Ceramics by Emmanuel Cooper, Thames and Hudson – The Potbook by Edmund De Waal, Amazon.

PROFESSIONAL EXPERIENCE (selected) Glazemaker at Tommerup Keramiske Værksted since 1987.
Member of the board at Museum of International Ceramic Art (Grimmerhus), Funen, DK.

BIOGRAPHY

NINA MALTERUD - www.ninamalterud.no
Born in Oslo 1951. Lives and works in Norway.

EDUCATION
1971–74 Ceramics at National College of Art and Design (SHKS), Oslo

ARTISTIC WORK
1975– Frysja Art Centre Oslo, and in Bergen

BERGEN ACADEMY OF ART AND DESIGN (KHIB)
2012- Senior adviser part time on education structure issues
2002-10 Rector
1998-02 Pro Rector
1994-02 Professor in Ceramics

OSLO NATIONAL ACADEMY OF THE ARTS (KHiO)
2012-14 Senior adviser 20 %, artistic research and accreditation issues

NORWEGIAN ARTISTIC RESEARCH PROGRAMME
2011-14 Co-responsible for annual Supervisors’ Seminar
2003-14 Member of the Steering Committee

ARTISTIC RESEARCH PROJECTS
2014-15 Adviser for the project INTERIMP at the Norwegian Academy of Music
2004-09 Responsible for Sensuous Knowledge, annual conferences and publication series, supported by the Research Council of Norway
2002 something old, something new, something borrowed, something blue, publication,
BERGEN NATIONAL ACADEMY OF THE ARTS
2002 Project leader from KHiB in Burning Point Bergen, Ceramics
1950-2000 publication, film, exhibition and seminar by Bergen National Academy of the Arts
/The West Norway Museum of Decorative Art

PUBLIC COLLECTIONS
2015, 2012, 2003, 2000, 90, 89, 84 Museums of Decorative Art in Oslo, Bergen and Trondheim
2003 The Art Museum of Northern Norway
2003 Drammens Museum
2000,89,88,84,83,80,78 Arts Council Norway
1991 Østfold County
1990 Sogn and Fjordane County Gallery
1984,83,80 Riksgalleriet

PRIZES AND GRANTS
2005 Norwegian Association for Arts and Crafts: Honorary Award
1989 Norwegian Association for Arts and Crafts: Grant
1992,85 Government’s Travel Grant
1985 Houen’s Foundation Grant
1979-81 Government’s Work Grant
1978 Government’s Materials Grant

SOLO EXHIBITIONS, SELECTED
2015 KRAFT Bergen
2014 Hå gamle prestegård (South West of Norway)
2013 Gallery Format, Bergen
2013 Rom8, Bergen
2012 Kunstnerforbundet, Oslo
2005 Rackstadmuseet, Sweden
2003 RAM Gallery, Oslo
1989,84,80 Kunstnerforbundet, Oslo
1989 National Museum of Decorative Arts, Trondheim
1989, 84 F15 Gallery

GROUP EXHIBITIONS, SELECTED
2015 SOFA Chicago (Gallery Format)
2013 Collect, London
2009 Vevring Exhibition
2003 Burning Point Bergen, The West Norway Museum of Decorative Arts, Bergen
2002 Keramik aus Norwegen, Galerie Handwerk, München
2000 Flyvende tallerkner og andre fat, Bomuldsfabriken, Arendal
1999 Kunstnerforbundet, Oslo
1999 Norwegian Contemporary Ceramics, Amsterdam
1998 Tendencies, F15 Gallery
1996 Ceramic Art Exhibition, Perugia
1994 Artists’ House, Gvarv Telemark
1994 Olympia Collection, Lillehammer
1990 Norwegian Ceramics 1940–1990, Museum of Decorative Arts and Design, Oslo
1990 Ukraina – Norge, a Developing Tradition, Norsk Folkemuseum
1990 Hordaland Art Centre
1990 6 sider av samme sak, RAM Gallery, Oslo
1984 Norway Now, travelling exhibition England
1983 Frysja på by’n, Museum of Decorative Arts and Design, Oslo

JURIED EXHIBITIONS
2016 Pottery is back Kunstnerforbundet, Oslo
2014 Annual exhibition Craft 2014, Norwegian Association for Arts and Crafts
2003 Ceramic Triennale, The Vigeland Museum, Oslo
2000,1975-93 Annual exhibition Craft, Norwegian Association for Arts and Crafts
1991 Krysspunkt, Henie Onstad Art Centre

PUBLIC COMMISSIONS
Public Art Norway (now KORO)
1994 Asker and Bærum District Court
1993 Kongsberg Engineering University College
1990 Bergen Prison
1985 Sessvollmoen Military Camp
1985 Norwegian Embassy Riyadh
ART COUNCIL NORWAY
1992 Tingvang, Øystre Slidre Municipality
PRIVATE COMMISSIONS
1991 Renaissance 7 (cruise boat)
1989 Den Norske Creditbank

JOURNAL - KUNSTHÅNDVERK
1979-87 Initiative to establish the journal, member of Editorial Board, co-author of many texts

BIOGRAPHY (details)

GUNHILD RUDJORD - www.keramos.dk
Born 1961 Trondheim, Norway. Lives in Denmark since 1981.

EDUCATION Design School - Kolding , 1983–87

PROFESSIONAL EXPERIENCE
Glaze responsible at Tommerup Ceramic Workshops since 1987
Board of directors, CLAY Museum of International Ceramic Art, Funen, DK.

SELECTED EXHIBITIONS
2016 Gallery Pagter, Kolding, DK
Ann Linnemann Gallery, Copenhagen, DK
2015 Galerie Espen Art Denor, Cannes
2014 Copenhagen Ceramics, DK
2013 Gallery Moderne, Silkeborg, DK
2012 Gallery Weber, w Sys Hindsbo, Svendborg, DK
September Exhibition, Fanø Art Museum, DK
2011 Gallery Pagter, solo exhibition, Kolding, DK
Himmerland Art Museum, med Kirsten Klein, Aars, DK
2009 Clausens Kunsthandel, w Knud Odde & Albert Mertz, Copenhagen, DK
2008 Gallery NB, Summer Exhibition, Viborg, DK
2007 Gallery Wolfsen, Contemporary Ceramics Aalborg, DK
2006 Art Centre Brænderigården, solo exhibition, Viborg, DK
2005 Fu Le International Ceramic Art Museum, Fuping, Xian, China
2004 Gallery Nørby, solo exhibition, Copenhagen, DK
2003 Nordenfjeldske Art Museum, solo exhibition, Trondheim, N
Sønderjyllands Art Museum, solo exhibition, Tønder, DK
Gallery Carsten Frøkjær, solo exhibition, Copenhagen, DK
2002 Omkring Nyholm, Silkeborg Art Museum, DK
Gallery Franz Pedersen, Horsens, DK
Denmark's Ceramics Museum - CLAY, From Clay to Ceramics, DK
2001 Gallery Pagter, Kolding, solo exhibition, DK
Gallery Carsten Frøkjær, solo exhibition, Copenhagen, DK
2000 Standpunkte, Denmark's Ceramics Museum - CLAY, DK
1999 Gallery Carsten Frøkjær, solo exhibition, Hellerup, DK
Standpunkte, Keramion, Frechen
1998 Erik Nyholm/ Gunhild Rudjord, Gimsinghoved, Struer, DK
Ceramic Art from Tommerup 1987-98, Ceramics Museum - CLAY, Funen, DK
1997 Fade, Galleri Pagter, Kolding, DK
Dansk Keramik 1850-1997, Sophienholm Art Museum, Lyngby, DK
Gallery Nørby, solo exhibition, Copenhagen, DK
1996 A Keramisk Univers, 23 Nordic Ceramists, Kulturspinderiet, Silkeborg, DK
1995 International Contemporary Artists in Clay, Gallery Vroumans, Amsterdam
Keramisk Dialog, Keramikaze, SAK Svendborg, DK
1994 The Danish Triennial, Trapholt Art Museum, Kolding, DK

↧

SLEIGHT OF HANDS.. Oct-Nov 2016

October 17, 2016, 7:48 am

≫ Next: TOY - Christmas exhibition - December 2016

≪ Previous: NORDIC NUANCES Sept-Oct 2016

CLICK photo = LARGE format + slide show.. Exhibition pieces

SLEIGHT OF HAND - Trick of the eye
Exhibition 27 October - 26 November 2016
Peder Rasmussen, Michael Geertsen DK, Kurt Weiser, Richard Shaw USA,
Stephen Bowers, Sophia Nuske, Australia

Artful trickery by sleight of hands and mind.
Contemporary artists explore aspects of Visual Illusion, Visions of the Mind..
A unique international meeting with great iconic artists who are acknowledged for their amazing illustrative ceramics pieces of art.

The exhibition emphasizes on deceiving - and delighting the eye.
While remaining faithful to the ceramic medium and its manipulation, the artists play with ideas of deception and illusion. Things are not quite as they may seem. Expectations are subverted and humorously played with.
The artists exhibit personal artifices and visual fantasies; but equally referring to illusionist trickery made in ceramic materials, the exhibition as much reflects our time seen through the artists' eyes, personal references and images of the world created by our global, cultural and art historical context.

PEDER RASMUSSEN and MICHAEL GEERTSEN have invented an alter ego named Gert Pedersen, who takes us out on an adventurous journey where anything can happen.. - and happen.
Animals and humans emerge from known and unknown tales.
They live in a world of vessels and geometric shapes, where it is quite easy and almost temptingly safe to go in and explore new land marks.
- Collaborative pieces by the two Danish artists

RICHARD SHAW shows a cigar box filled with shells and other memories, - another work is an envelope of a letter to his daughter. He makes personal collections of memories that could be collected by ourselves - or someone we know - silly memories that across ages we can relate to, but relate to differently depending on whether we have ever written a letter - or this has become part of cultural history.. - and challenges our contemporary concepts.

KURT WEISER presents a large piece, a pictorial vessel, a naturalistic immediate narrative universe, that in a way is recognizable; - but without telling the whole story, it draws the viewer in and around the piece to find the answers or understand the whole story.
His work contains mysteries and do not serve 'all on a plate', but makes you want to see the piece from all sides. It is masterfully executed porcelain painting and advanced visual narrative.

STEPHEN BOWERS moves in to a historical pictorial world, where he has painted highly detailed pottery shards from different periods and styles onto an 'aerial' of Australian nature.
He references a variegated culture, personal ideology, and local characters, but also gives an image of the global community we all live in, experiences, fragments and motifs from around the globe, along with phone apps and other contemporary iconic characteristics.

SOPHIA NUSKE, a new Australian talent invites the viewer to focus attention on the ordinary, neglected man-made things. By playing on the inherent language about these objects, she creates humorous juxtapositions of ideas, guided by wordplay. She references trompe l'oeil super objects from the 70s and 80s in a new 'design' and cartoon-like imagery that is the hallmark of the younger generation of ceramists.

Grateful thanks to The Danish Arts Foundation’s Committee for Crafts and Design Project Funding of the Ann Linnemann Gallery in 2016.

The French term, Leger-de-main is another name for sleight of hand.
Legerdemain (Leger-de-Main):
= Sleight of Hand - trickery; deception - any artful trick.
= skill in or practice of feats of dexterity that create a magical illusion.
= an illusory feat; considered magical by naive observers.
= sleight of hand, prestidigitation the kind of legerdemain you'd expect from a magician.
= deception, manoeuvring, manipulation, cunning, artifice, trickery, subterfuge, feint, contrivance, chicanery, hocus-pocus, CRAFTINESS, ARTFULNESS, footwork (informal) financial and legal legerdemain..

PEDER RASMUSSEN and MICHAEL GEERTSEN DK

For the second time Michael Geertsen and Peder Rasmussen have created ceramic works together.
This time the symbiosis is completed - they have simply signed the pieces: Gert Pedersen.
The pieces are a burlesque mix of properties we already know from the two ceramists separately - in the intermingling they simply become more narrative and adventurous. You can tell, - they have amused themselves.
(Photo of collaborative piece - Copenhagen Ceramics, 2012)

BIOGRAPHIES

PEDER RASMUSSEN DK www.pederrasmussen.dk
Peder Rasmussen is a potter, artist and one of Denmark's few major cultural authorities who takes the ceramic profession seriously. He gets involved in everything from writing critical posts to as an author publishing books with ceramic theme: Kählers Værk i 2002 and Reistrup, Nyt Nordisk Forlag Arnold Busck, 2006, and in 2016 Familie På Træben - About J.F. Willumsen's Family Vase.

For potters and other folks, he is a commentator and sometimes a provocateur - but first and foremost one who knows his craft and plays from all humorous angles with a sharp tongue, a clear eye and mind to rediscover historical themes, as he rethinks and involves in his own pieces.
- “Although the shape is important, it is the picture side that matters most to me. The diversity of intrusive figuration has always been my excuse to make another image vase. The human figure is usually the core of the decorations, often in combination with ornamental elements or involved in various activities. Human interactions and our relationship with nature are a couple of my recurring themes, but generally the subject matter is rather wide.
The circular or oval vessel form, I consider to be absolutely perfect as a narrative medium. I see my image vases as cinematic stories - almost as a kind of visual film loops. In my plates, I use the opportunity to arrange pictures with a more solid and central focus.

I also work a lot with freestanding figures that often share a motivic starting point with vases and plates.
In regards to the technical terms, I've been through a lot, as evidenced in my "Museum"(*). First it was the pottery - so stoneware, since Raku.
From the early nineties, I worked mainly with shiny glazed earthenware in relatively classical forms. Recently, I been experimenting with Majolica, the classic Italian technique I met during my study in Italy in the early seventies."
*See Museum: www.pederrasmussen.dk/peder-rasmussen/museum

PEDER RASMUSSEN was born in 1948. Lives and works in Haslev, DK.
EDUCATION potters certificate at Herman A. Kähler, Næstved 1966–70. Istitutto Statale per la Porcellana, Sesto Fiorentino and Accademia di Belle Arti, Florence, Italy, 1970–71.
DANISH ARTS FOUNDATION Lifelong Artist Award, 1998.
REPRESENTED BY Victoria & Albert Museum, London. National Museum Stockholm & Röhss Museum of Decorative Art, Gothenburg, Sverige. Designmuseum Danmark. Kunstmuseum Trapholt & CLAY Ceramics Museum, Denmark. National Museum & Nordenfjeldske Kunstindustrimuseum, Trondheim, Norway. Keramion, Frechen, Museum für Kunst und Gewerbe, Hamburg & Hetjens Museum, Düsseldorf, Germany. COLLECTIONS National Arts Foundation in Sweden & Denmark, Annie and Otto Detlefs Foundation, Denmark.
SELECTED EXHIBITIONS Museum of Arts and Crafts, Oslo, Norway, 1989. Galerie Clara Scremini, Paris, France, 1997. Galerie Droysen, Berlin, Germany, 2000. Galerie Nørby, Copenhagen, 2003. Holstebro Art Museum, Denmark. Keramion, Frechen, Germany, 2006. Koldinghus Museum, Denmark, 2009.
FILM - part 1: www.youtube.com/watch?v=XXcNWV8kmaM&feature=related
FILM - part 2: www.youtube.com/watch?v=u17BfEl4f0U&feature=related

MICHAEL GEERTSEN DK www.michaelgeertsen.dk
Michael Geertsen is one of the few who is trained both as potter and industrial designer.
After 25 years of professional career, he is internationally recognized for his fancy-full, often colourful pieces that reflect a playful cultural approach to the material in line with the great interest within contemporary ceramics.
The driving force has largely been opportunistic from the idea that everything before the modern breakthrough was "bourgeois merchant ceramics". However, he acknowledges that clay's own, built-in logic and the fundamental studies of material have been the same across time and culture. It is this collective relationship between all time potters, such as the exhibition Geertsen VERSUS at Næstved Museum, has focused on. This exhibition was a potter's dialogue with his historical legacy and showed a kinship that is not only parallel by virtue of shape, glaze and technology, but a quite common mind-set that has its roots way back in antiquity.

“It makes sense for me to create pieces that are in dialogue with the history of a present days optic.
My artworks include both the physical and written statements, as the historical elements, after all, are to be decoded. But they are nevertheless 'on their own feet' in their own idiom. And surely it is in all modesty, my humblest ambition: to become one of those who gets speaking time in history through my work.
All the individual parts of my unique pieces are turned by hand. Then I unite the various elements into a finished expression via hands and my eye for proportion.
Usually I have a fairly complete idea in my head, but a jazzy improvisation is as much a part of my working method
My trademark has been a sculptural accumulation of ceramic elements: cup, plate, pot, saucer, teapot - everyday recognizable ceramics sampled in a deconstructive grip that transcends everyday life and points both back into history and forward to new tales "
(Quotes from Geertsens website - interview/C. Jul and various exhibitions)

MICHAEL GEERTSEN was born in 1966, trained as a potter in Stensved, Denmark, certificate in 1988 and graduated from the department of Industrial Design at The Royal Danish Academy of Fine Arts, School of Design in 1993. He lives and works in Copenhagen.
His works are represented at the Metropolitan Museum, Cooper Hewitt National Design Museum and MAD/Museum of Arts and Design, all in New York City, The Victoria and Albert Museum in London and Designmuseum Danmark in Copenhagen. In 2012 he created a permanent installation at The V&A in London and in 2009 he did a mosaic mural in Hanoi.
Michael Geertsen is represented by Jason Jacques Gallery in New York, Galerie NeC nilsson et chiglien in Paris and Superobject gallery in Copenhagen.
FREELANCE INDUSTRIEL DESIGN - Muuto, Cor Unum, Kähler, House of Prince, Paustian.

KURT WEISER - USA
Kurt Weiser is Internationally recognized as a contemporary ceramic artist and educator. He is acknowledged for his technical virtuosity with porcelain forms and his use of china painting techniques in a distinct contemporary style.
His subject matter illustrates lush, mysterious landscapes and distorted narratives set amidst colour-saturated flora and fauna that read as voyeuristic candid snapshots of the human condition.
The illustrations challenge and surprise the viewer all the way around the forms with a continuous dreamlike narrative.

“For years the work I did in ceramics was an effort to somehow express the beautiful nature of the material. Somewhere in the midst of this struggle I realized that the materials are there to allow you to say what you need to say, not to tell you what to say. So I gave up trying to control nature and decided to use what I had learned about the materials to express some ideas about nature itself and my place in it.”

EXHIBITION PIECES present a new large porcelain vase complimented by a series of blue and white cups, together with a salt-fired earthenware and a tall black&white cylindrical vase.

KURT WEISER was born in Michigan 1950, lives and works in Arizona and Montana, USA.
Studio: Tempe, AZ. Education: Interlochen Arts Academy, Interlochen, MI, 1967-69; Kansas City Art Institute, Kansas City, MO, BFA, 1972; University of Michigan, Ann Arbor, MI, MFA, 1976. Since 1988 he has taught ceramics at Arizona State University where he is now a Regents Professor. Awards: Aileen Osborn Webb National Artist Award, 2003; American Craft Council College of Fellows, 2003; Arizona Commission on the Arts, Artist Fellowship, 1999; National Endowment for the Arts, Artist Fellowship, 1992, 1989. USA Artists Fellowship 2012. .Collections: Victoria and Albert Museum; the Los Angeles County Museum of Art; Carnegie Museum of Art; Museum of Contemporary Ceramics, Shigaraki, Japan; Mint Museum of Craft and Design; Racine Art Museum and the National Museum of History in Taipei.
Video: https://www.youtube.com/watch?v=awHQvwz2Sx4
www.ceramicstoday.com/potw/weiser.htm
ferrincontemporary.com/portfolio-items/kurt-weiser/
www.franklloyd.com/dynamic/artist_bio.asp?ArtistID=35

RICHARD SHAW - USA www.richardshawart.com
In the world of contemporary ceramics, Richard Shaw is a great master of trompe-l’oeil sculpture. He has developed an astonishing array of techniques, including perfectly cast porcelain objects and overglaze transfer decals. By combining the commonplace with the whimsical, the humorous with the mundane, Shaw captures the poetic and the surreal with the sensibility of a comedian. Shaw is one of the most respected and collected artists in contemporary ceramics.

Richard Shaw came out of the San Francisco Bay Area art scene in the late 1960's and he continues to add to his skills and appropriate from mass culture.
He has developed a vocabulary of found objects that form intimate still life sculptures, complex figures, and personally referential assemblages.
He brings life to the detritus of the studio, as a cartoonist animates the page.

“I have been working in this mode of realism since 1976. My earlier work dealt with illusion, so I believe it was a logical transition to my present work which has been traditionally referred to as Tromp l'Oiel.
All the work is constructed in glazed porcelain. Since the mid 60's I have been working in ceramics, the medium that has become my main source of expression.
Many of the pieces illustrated are containers or refer to containers. This gives me a format to work from and is also a tradition in functional ceramics, European and worldwide.

I use the still life to suggest an arrangement by an absent person, male or female, of common objects they use in daily life, which they have left for a moment, is frozen in time. The figures are also about containers, still-lifes and objects that have been anthropomorphized into people frozen in action or repose.
I hope that these pieces come across as quiet reminders of a person's presence whether they are artists, librarians or some crackpot constructing a figure out of junk. I also hope that they have the ability of function, humor, surprise, beauty and universality.”
EXHIBITION PIECES Collection Box with Sea Shells, Windy Lady, Origami Ship on Cake, Letter for Alice, Bray Show.

RICHARD SHAW was born in 1941, Hollywood, USA. He lives and works in Californien, USA.
EDUCATION San Francisco Art Institute, BFA,1965; MFA, University of California, Davis, 1968. Teaching at San Francisco Art Institute 1966-86. Now Professor of Art, University of California at Berkeley.
AWARDS National Endowments Grants. Fellow, American Crafs Council 1998; Honorary Member NCECA (the National Council of Education in Ceramic Arts) 2010 ; Watershed Center for Ceramic Arts Legends Award 2011; Master of Medium Award, James Renwick Alliance, Washington DC.
RESIDENT ARTIST Shigaraki Cultural Ceramic Park, Japan; Manufacture National de Sevre, Paris; Watershed Center for Ceramic Arts, Maine; Peter Voulkos Fellowship, Archie Bray Foundation, Helena, Montana.
PUBLIC COLLECTIONS Whitney Museum of American Art; San Fran Museum of Art; Taipai Museum of Modern Art; National Museum of Modern Art, Kyoto; Shigaraki Cultural Ceramic Park, Japan; Stedelijk Museum, Amsterdam, Nederlands; Victoria Albert Museum, Cantor Museum, Stanford England..
Video - www.youtube.com/watch?v=INL-EQL0o1E

STEPHEN BOWERS - Australien
Stephen Bowers brings together in his painted ceramic vessels many of the traditions from the history of ceramics.
In any one piece, one might find traces of many familiar styles and decorations.
While maintaining a respect for the master techniques, Stephen Bowers' flamboyant and exuberant ceramics combine a classical ceramic heritage with inspiration from indigenous sources and are spiced with dashes of wit. His work is distinguished by intricately painted underglazes which "wear its expertise lightly.
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 utilising borders, patterns, overlaps, edges and shadows.
His drawing skills, and the way these are carried out through ceramic materials, are considerable, but the drawings are more than decoration and illustration. They are witty collages that betray thoughtful research and intelligent observation.

He regularly retrieves and re-positions images, representing ‘the familiar’, often sourcing ‘clichéd’ images (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.
Reflecting the influence of textiles, wallpapers, comic strips, natural history illustration and childhood memories his work brims with ideas and imagery that trace their origin to both historical and contemporary sources.

It is a sustained investigation into hand painted imagery and how it might be applied to the ceramic surface. Appreciation of this approach is a key to understanding how he develops and composes his imagery and achieves the complexity of resolution in his work.
His work is almost always functional in its form, and ranges from pieces that are mainly domestic in their purpose, to monumental urns and jardinieres intended for large public places.

- “My aim is to make people look - and to look again; encouraging viewers to observe, react, consider, discover and re-consider. I make both production and exhibition work, using hand craft skills informed (but not driven) by ideas with origins in the theory and study of images, their historical recall and reproduction and perception, and giving reference to the contexts and crossovers of visual arts with traditions, trade, travel, politics, science and exploration.
Compositionally, juxtaposition is important and I work in a kind of ‘mash up’ way; perhaps tongue-in-cheek, but always selectively, deliberatively and with an element of homage in mind. My work presents fictive tableaux, sectional or shard-like conjunctions, forming mosaic-like narratives of observation, conjecture and inquiry, often with a surreal, whimsical, humorous, sceptical or satirical subtext.”
EXHIBITION PIECES “Fake real shards, and real fake shards…“ - Ironstone, Buddhist, French Toile, Parrot, Ming-Morris-PhoneApp, Jewel at the Border.

Wheel thrown earthenware, underglaze colour, clear glaze, gold lustre, 2016.
Together with Monkey & Kangaroo plates, cups and bowls from previous exhibition.

Video: www.youtube.com/watch?v=-ZtXvlIEv6o
Ann Linnemann Galleri, 2010: 2010/10/illustrious-wonderes-udstilling
Ferrin Gallery: ferrincontemporary.com/portfolio-items/stephen-bowers
Robin Gibson Gallery: robingibson.net/artists/stephen-bowers

SOPHIA NUSKE - Australien
“I invite the viewer to refocus their attention on common, overlooked manmade objects. By playing with the inherent language of these things, humorous juxtapositions of ideas are created, guided by wordplay. A level of realism is achieved through carefully fine-tuning a tool kit of visual cues, referencing trompe l’oeil super objects of the 70’s and 80’s. The humour found both in lingual and visual puns, as well as the graphic or cartoon-like appearance of the work reinforces the playful quality underpinning my practice. Through my installations, I question: How do these common objects affect our daily rituals? What sentimental value do we imbue in them? And what happens when their function is subverted? Ultimately the viewer is invited to renegotiate their surroundings and how they engage with objects of the everyday.”
BIOGRAPHY – see: www.sophianuske.com

EXHIBITION PIECES "To Cut a Short Story Long"&"Bandaids"

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