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).
EXHIBITION SPACE: The Paintbrush Factory (third floor) Henri Barbusse nr. 59-61 Cluj-Napoca, Romania
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.
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 +886-2-86772727
Ceramics Now Magazine is the newest contemporary ceramic art publication in the world. We present exclusive interviews with world-renowned artists, high quality images with their works, and news from the ceramics field. With over 2000 works and 50 published interviews, the magazine is in top 3 most trusted online publications of contemporary ceramics.
Arthur Gonzalez’s work is on the cover of the Ceramics Now Magazine Winter 2011-2012 issue, introducing an amazing interview about his work. The issue also features Roxanne Jackson’s work, as well as two partnerships with the Denver Art Museum (Overthrown: Clay Without Limits) and Keiko Gallery (Japanese artists).
Issue nr. 1 also presents interviews and articles with new and world-renowned ceramic artists: Claire Muckian, Carol Gouthro, Ian F. Thomas, Cynthia Lahti, Carole Epp, Simcha Even-Chen, Liza Riddle, Patrick Colhoun, Mark Goudy, Chang Hyun Bang, Ian Shelly, Shamai Gibsh, Margrieta Jeltema, John Shirley, Jim Kraft, Connie Norman, Blaine Avery, Antonella Cimatti, Maciej Kasperski, Wim Borst, Merete Rasmussen.
“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.
“Looking around Marie Torbensdatter Hermann’s most recent exhibition of work, we may well have a similar feeling: that we are in the presence of pots that don’t quite need us. They are just fine on their own, thank you. Poised atop their handmade clay shelves, microcosms like the implacably calm still life paintings of Morandi, or set out in a neat ring on the gallery floor, these ceramic sculptures have a quiet assurance, an ease that belies the difficulty of their own making.
You almost have to remind yourself that it’s by no means easy to create this sense of completeness. The usual way of doing it is to make objects that are resolutely alien to everyday experience: the abstract geometries of De Stijl, the weird and hermetic object-poems of the Surrealists, the industrial quality of Minimalist sculpture, or the unearthly light and space created by artist James Turrell. While Hermann’s work is influenced by all of these art historical references, she appeals to something more humble and humane than any of them.
While her commitment to achieving a unified aesthetic impression is total, it seems to me that her greatest interest as an artist comes at the level of the detail. Yes, she knows she must (according to some modernist logic) ‘earn’ the right to create an interesting shape, like a sharp break in the profile of a vase, or a gentle curve in the rim of a plate. For her, these subtle touches have to make sense within an overriding context. There is nothing whimsical about them. But all the same, Hermann infuses these little maneuvers with a great deal of enjoyment – just as the slight sway of a violin or the mournful swell of an oboe might convey the emotion that a composer feels for his own symphony. Hermann’s pots may inhabit worlds of their own, and to that extent they stand proudly and resolutely apart. But through the deft and playful touches that are everywhere in this exhibition, we are let into something very human indeed: something not too far from bliss.” Glenn Adamson, Head of Graduate Studies at the Victoria and Albert Museum, London, about Marie T. Hermann’s work.