Ceramics Now Exhibition, The Paintbrush Factory, Cluj-Napoca, Romania
December 9, 2011 - January 6, 2012
Ceramics Now Magazine has the pleasure to invite you to the first edition of Ceramics Now exhibition, held at the Paintbrush Factory, in Cluj-Napoca, Romania, from December 9, 2011 to January 6, 2012.
Opening reception on Friday, Dec 9, at 18:00.
The exhibition presents different approaches of contemporary ceramic art through the works of 15 artists from USA, Canada, United Kingdom, Italy, South Korea, Israel and Poland, and celebrates the launch of Ceramics Now Magazine’s first printed issue. The artists are also featured in the issue.
EXHIBITING ARTISTS: Chang Hyun Bang (SK), Antonella Cimatti (IT), Patrick Colhoun (UK), Carole Epp (CA), Simcha Even-Chen (IL), Shamai Gibsh (IL), Mark Goudy (US), Roxanne Jackson (US), Margrieta Jeltema (IT), Maciej Kasperski (PL), Jim Kraft (US), Cynthia Lahti (US), Claire Muckian (UK), Connie Norman (US), Liza Riddle (US).
The Paintbrush Factory (third floor)
Henri Barbusse nr. 59-61
Open Monday-Saturday, 14-20 pm, closed on Sundays, Christmas (Dec 24, 25, 26) and New Year (Dec 31, Jan 1). Free admission. With the kind support of SABOT Gallery and the Paintbrush Factory.
Media partners: Euronews, Art-Agenda, Radio Romania Cultural, TVR Cultural, RFI, ArtClue, Modernism, Slicker, Neaparat, ArtAct Magazine, Vernisaje.com, Zile si Nopti, 24FUN, Citynews, Ziua de Cluj, NCN, alternativ.ro, Welcome 2 Cluj, Evenimente in Cluj, QBOX.
Tel. +4 0748 311 663
CERAMICS NOW MAGAZINE
Touch & Shadow - Siraj Saxena Solo Exhibition, New Taipei City Yingge Ceramics Museum
30th November - 15th December, 2011
What does clay mean to me? I believe clay is a complete material in itself. Clay has many shapes and forms in it and for centuries man has unveiled these forms according to his need and imagination. It is a very soft medium of expression and it is up to the artist who takes it somewhere,where his or her art completes.
One can say that I repeat my forms - its true and not so true, because when you look at each form, they are different from each other - like leaves of a tree or the curly hairs of Buddha.
The beauty of this repetition in India has a long past and journey, from Indians’ kitchen, weaving, textile printing, and terracotta roof tiles to the chantings of Mantras. Since childhood, I was surrounded by many visual images and got attracted to them: this visual experience takes its shape and makes its own visual vocabulary in my work. I am trained as a painter and I also believe there is a lot to be done in the two dimensional aspect of ceramic art. I love to cover a huge space through my tiny forms - a very interesting line which has a lot of spiritualism in it.
My works are tiny drops of water in the ocean of ceramic art.
New Taipei City Yingge Ceramics Museum
200, Wenhua Rd, Yingge Dist, New Taipei City 239, Taiwan
“Every day we are surrounded by objects of different character. Objects we either know from before or new things we’ve never seen. Created by nature or shaped by human hands. We distinguish between the known and unknown, and make new discoveries. What is known from before we often find in our home environment and community, and the more unknown objects we find when traveling or in new surroundings. I approach the objects in the exposition with different artistic strategies, and a transformation process that examines functional, sculptural and cultural issues.
In the selection of an object to work with, I look for what exudes a certain history and experience. By my hand, the objects are then transformed into new stories, and re-created objects. The original objects emerge as raw materials, in which their parts are recreated into wholes, with a desire to capture the time between past and present. The intention is to add something new and different to an object’s inherent character. Together these objects link together as small elements in a storytelling collection, and reveal a hidden story.” Kjersti Lunde
Appropriate means of creatively adapting to continual changes have been expressed though practices of art, architecture, science and technology. In this new body of ceramic works, entitled “Tectonic Perceptions”, the intentions are incorporating methodologies and theories from the mentioned practices to create a “new nature” in structural design for ceramic objects. The pieces seek to celebrate the versatility of clay with an aim of fostering new realizations of architectural space. Travels throughout Asia and an array of rich cultural experiences in China have brought about new realizations within the artist’s mind and perceptions of cultural identity, history and space.
These relationships have allowed the artist to explore relationships between the strong elements of tradition and modern identities rapidly evolving around the world. Explorations of these interrelationships and the intentions of the maker and his material have led to the new structural ceramic designs. Through his aspired process of invention, it is the artist’s intent to find a natural form by staying true to chosen materials and their inherent properties. The artist is in pursuit of finding and establishing a formal vocabulary that allows sculptural vessels to exhibit qualities of both unique and handcrafted objects of traditional cultures with that of machine made and mass-produced objects of our contemporary society.
Brian Kakas is an Assistant Professor of Ceramics at Northern Michigan University. He received his MFA in ceramics from The University of Notre Dame in 2007.