Ceramic artists list
> Ceramic artists list 100. Tim Rowan 99. Graciela Olio 98. Michal Fargo 97. Ryan Blackwell 96. Ellen Schön 95. Francesco Ardini 94. David Gallagher 93. Elizabeth Shriver 92. Jason Hackett 91. Patricia Sannit 90. Bente Skjøttgaard 89. Steve Belz 88. Ruth Power 87. Jenni Ward 86. Liliana Folta 85. Kira O'Brien 84. Annie Woodford 83. Kwok-Pong Bobby Tso 82. Bogdan Teodorescu 81. Kimberly Cook 80. Paula Bellacera 79. Debra Fleury 78. Cindy Billingsley 77. David Gilbaugh 76. Teresa & Helena Jané 75. Marianne McGrath 74. Suzanne Stumpf 73. Deborah Britt 72. Kathy Pallie 71. Els Wenselaers 70. Kjersti Lunde 69. Brian Kakas 68. Marie T. Hermann 67. Mark Goudy 66. Susan Meyer 65. Simcha Even-Chen 64. Barbara Fehrs 63. Shamai Gibsh 62. Natalia Dias 61. Bethany Krull 60. Amanda Simmons 59. Arthur Gonzalez 58. Chris Riccardo 57. Akiko Hirai W 56. Johannes Nagel 55. Rika Herbst 54. Liza Riddle 53. Chang Hyun Bang 52. Virginie Besengez 51. Jasmin Rowlandson 50. Chris Wight 49. Wim Borst 48. Rafael Peréz 47. Guðný Hafsteinsdóttir 46. Cathy Coëz 45. Merete Rasmussen 44. Carol Gouthro 43. JoAnn Axford 42. David Carlsson 41. Margrieta Jeltema 40. David Roberts 39. Patrick Colhoun 38. Abigail Simpson 37. Signe Schjøth 36. Katharine Morling 35. Dryden Wells 34. Antonella Cimatti 33. Cynthia Lahti 32. Carole Epp 31. Blaine Avery 30. Ian Shelly 29. Jim Kraft 28. Wesley Anderegg 27. Connie Norman 26. Arlene Shechet 25. Young Mi Kim 24. Jason Walker 23. Peter Meanley 22. Shane Porter 21. Jennifer McCurdy 20. Yoichiro Kamei 19. Debbie Quick 18. Ian F Thomas 17. John Shirley 16. Grayson Perry 15. Vivika & Otto Heino 14. Georges Jeanclos 13. Daniel Kavanagh 12. Nagae Shigekazu 11. Matthew Chambers 10. Tim Andrews 9. Claire Muckian 8. Adam Frew 7. Maciej Kasperski 6. Roxanne Jackson 5. Keith Schneider 4. Celeste Bouvier 3. Tim Scull 2. Kim Westad 1. Sara Paloma

Alexis Rago: Chaos Contained / Crafts Study Centre, Farnham, UK

Alexis Rago: Chaos Contained / Crafts Study Centre, Farnham, UK
January 7 - March 1, 2014

The National Centre for Craft & Design confirms that Alexis Rago: Chaos Contained will begin its life as a touring show in Farnham. Originally curated by Laura Mabbutt for the NCCD, the exhibition opens at the Crafts Study Centre on 7 January 2014 continuing until 1 March. Touring Manager, Liz Cooper says “During its 70 day run at NCCD, over 4,600 people of all ages viewed Chaos Contained, making it one of the most successful exhibitions we have held in our Roof Gallery. We hope to repeat that success in Farnham.”

Alexis Rago: Chaos Contained ceramics exhibition

Alexis Rago worked as a biologist and his artwork is inspired by the Cambrian explosion, when diverse life forms rapidly evolved. He hand crafts his sculptures, allowing them to take shape while he works, and incorporating the imperfections characteristic of work created by the human hand. For Chaos Contained, Rago created brand new, technically challenging, large scale ceramic works,with integrated media, such as digital sound and projected imagery. Avideo of Rago describing the work as he createdit explains his thoughts, creative processes and techniques.

The exhibition has received critical acclaim, with the New Scientist describing it as “Beautiful Biology, pure fantasy, a collection of intricate, totem-like clay sculptures that look as if they are made from natural organisms”. Elements from the exhibition formed a key part of the Frequency Digital Festival, which took place in Lincoln in October 2013.

Public praise for Chaos Contained, captured in the gallery comment book, includes “serene, elegant, fascinating and wonderful”, “Beautiful, life-affirming – a delight”, and “Superb! Biologist myself – love the forms”.  It has inspired art students to take up clay work and children to complete wonderment: “antastic, my little girl was mesmerised and spent time considering how they [the forms] stand up, she is only seven”.

The National Centre for Craft & Design is a unique and ambitious gallery that seeks to exhibit the most innovative, challenging and accomplished artists practicing within the craft and design arena today. Under one roof, the NCCD has five galleries dedicated to the exhibition, celebration and promotion of national and international craft and design. The NCCD is committed to creating exhibitions that can be seen by as many people as possible. Through its touring programme, the NCCD works with some of the UK’s leading galleries and museums.

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  • Body and Soul: New International Ceramics / MAD Museum, New York

    Body and Soul: New International Ceramics, MAD Museum New York

    Body and Soul: New International Ceramics / MAD Museum, New York
    September 24, 2013 - March 2, 2014

    In recent years, the human figure has returned to center stage in the work of artists around the world. Body & Soul: New International Ceramics underscores the power of the figure to convey strong emotions, and also to the accessibility of the ceramic medium. Through clay the figure becomes the catalyst for addressing the emotional impact of contemporary pressures that confront our society today. Each work, inspired by a personal incident or symbolic tale, expresses a deep emotional identity, contrasting societal, political, and personal views on themes such as anxiety, bias, mortality and memory.

    The exhibition will highlight approximately 25 international artists who came to clay as painters, draughtsmen, or sculptors. Many are being shown for the first time in the United States. The range and quality of the works will make this exhibition engaging and provocative, and will bring this special area of creativity into a much-deserved focus.

    “The artist with a social conscience who models in clay strives to capture an immediacy and a passion through tactile manipulation. With a focused purpose, he or she creates a specific message of historical or current concern, giving voice to a cause,” said Guest Curator Wendy Tarlow Kaplan. “Body & Soul underscores the ability of the human form to convey intense emotions, and we feel privileged to bring this important work together for the first time, and to address the human condition with raw power and pathos.”

    “From ancient Greece through the Etruscans and Romans to the Renaissance and, ultimately, to the twenty-first century, clay has remained a powerful and immediate way of expressing ideas,” added David Revere McFadden, William and Mildred Lasdon Chief Curator, Museum of Arts and Design. “Since 1956, when the Museum of Arts and Design opened in its first manifestation as the Museum of Contemporary Craft, we have underscored our commitment to ceramics in general, and ceramic sculpture in particular. The MAD collections include landmark works by such luminaries as Robert Arneson and Viola Frey, both of whom concentrated their vision on the human figure and its perpetually evolving nature. Body and Soul: New International Ceramics is the latest manifestation of how the humble and quotidian material born of the earth itself once again claims center stage in contemporary art.”
    This exhibition is organized and curated by Wendy Tarlow Kaplan with the advisement of Laurent de Verneuil, Martin S. Kaplan, and by David McFadden, William and Mildred Lasdon Chief Curator at the Museum of Arts and Design.

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  • Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art / Museum of Fine Arts, Boston

    Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art, Museum of Fine Arts, Boston

    Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art / Museum of Fine Arts, Boston
    November 12, 2013 - September 8, 2014

    The Museum of Fine Arts, Boston (MFA), presents Fired Earth, Woven Bamboo: Contemporary Japanese Ceramics and Bamboo Art, an exhibition that highlights the meticulous craftsmanship and highly creative sculptural forms of Japanese decorative arts. Among the first exhibitions to present contemporary ceramics alongside baskets, Fired Earth, Woven Bamboo offers an in-depth look at 60 objects created by dozens of leading artists based in Japan. Drawn from a recent gift of Stanley and Mary Ann Snider of more than 90 pieces spanning the late 20th and early 21st centuries, many of the works are on view for the first time at the Museum. Enhanced with a selection of contemporary textiles, screens and paper panels, the exhibition is open through September 8, 2014 in the Japanese Decorative Arts Gallery and is accompanied by an illustrated publication.

    “Several years ago, Stanley Snider challenged the Museum to become a center for contemporary Japanese decorative arts,” said Malcolm Rogers, Ann and Graham Gund Director of the MFA. “Through the generous gift that he and Mary Ann made in 2012, and the infectious enthusiasm that they have conveyed to others, we are now well on our way to achieving that goal.”

    During the late 19th century and into the 20th century, ceramics and bamboo arts in Japan evolved from traditional crafts into modern art forms, as those who produced them evolved from craftspeople into artists. As modernization continued, a new generation of artists began to assume creative control over the works they produced, creating unique pieces with their own hands, based on their own ideas. Creativity—rather than mere technical excellence—became the standard for an artist’s work. In Basket with bamboo-root handle (1930s), for example, Maeda Chikubōsai demonstrates an early example of bamboo art as a form of personal expression.

    “The MFA has been at the forefront of promoting contemporary Japanese decorative arts for many years,” said Anne Nishimura Morse, William and Helen Pounds Senior Curator of Japanese Art at the MFA. “These works have attracted new audiences from around the globe in the last decade, and this exhibition is a wonderful opportunity to continue our long history of cultural exchange with Japan.”

    This exhibition is generously supported by the Jean S. and Frederic A. Sharf Exhibition Fund.

    Fired Earth
    In the years following World War II, avant-garde clay artists in Japan declared that their work no longer had to take the form of traditional vessels. Many of these artists maintained respect for ancient methods and aesthetics, while embracing the non-functionality of their ceramics. Akiyama Yō intentionally exploited deformations that would be considered defects in commercial products with Untitled MV-1019 (2010), which purposely employs cracks in the clay to provide a weathered effect. Fukami Sueharu––who brought Japanese ceramic arts global attention––also adopted inventive approaches to traditional techniques. His The Moment (Shun) (1998) is a keenly edged abstract work of porcelain that slices through space like a knife.

    Recently, international praise has centered on pioneering female ceramists. Until the postwar era, virtually no women in Japan were ceramic artists; men feared that the presence of women would pollute their kilns. Koike Shōko was one of the first female graduates of the ceramic department at Tokyo National University of the Arts. Her shell-shaped vessels, such as Shell 95 (1995), were first thrown on a wheel and then sculpted from the clay of the Shigaraki region. Whereas traditional Shigaraki vessels are left unglazed, Koike applies layers of white slip (liquefied clay) to the surface. Sakurai Yasuko, also among the first women to work with clay on a university campus, plays with forms that make the viewer aware of light and shadow in Vertical Flower (2007).

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  • Month in Review: December 2013

    Month in Review, December 2013 at Ceramics Now - Ceramics Magazine

    Hello friends. Welcome to Month in Review, a summary of the last month of activity here at Ceramics Now.
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    Subscribe to Ceramics Now Magazine, the international bi-annual journal that promotes critical discussion about contemporary ceramics through interviews, artist projects and reviews.

    Featured artists
    Michal Fargo - View works

    Interviews
    Ken Eastman - Featured now
    Bente Skjottgaard - Featured now
    Liliana Folta - Spotlight
    Els Wenselaers - Spotlight
    David D. Gilbaugh (The Tectonic Method) - Ceramic Technique

    Reviews
    Mungyeong Traditional Tea Bowl Festival

    Exhibitions
    CLASS OF 2013 / The National Centre for Craft and Design, Sleaford, UK
    Betty Woodman: CONTRO VERSIES CONTRO VERSIA / Gallery Diet, Miami
    Yô Akiyama exhibition / ARTCOURT Gallery, Osaka, Japan
    Uku Rere: Nga Kaihanga Uku and beyond / Whangarei Art Museum, New Zeeland
    Mud and Water exhibition / Rokeby Gallery, London
    HYPERCLAY: Contemporary Ceramics / Gladstone Regional Art Gallery & Museum, Australia
    Ceramics/Glass / Ukrainian Institute of Modern Art, Chicago
    Esencia 2013 by Sanserif Creatius: Japanese and Valencian Craftsmanship / Valencia, Spain
    Craftsmanship in Ceramics, Jewellery, Basketry and Wood / Oxford Ceramics Gallery, Oxford, UK
    Susanne Silvertant / Terra Delft Gallery, Delft, the Netherlands
    Keisho-Ha - A New Materialism and the Yufuku Aesthetic / Yufuku Gallery, Tokyo
    Kerry Jameson: Unbounded / Marsden Woo Gallery, London
    Ken Mihara: Serenity in Clay / Liverpool Street Gallery, Sydney

    Exhibition galleries
    Ceramics and Glass at the Ukrainian Institute of Modern Art, Chicago

    Calls for applications and news
    7 Ceramic Art Competitions and Fairs Where You Should Participate in 2014

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  • CLASS OF 2013 / The National Centre for Craft & Design, Sleaford, UK

    CLASS OF 2013 / The National Centre for Craft and Design, Sleaford, UK
    November 22, 2013 - January 19, 2014

    Each year,The National Centre for Craft and Design in Sleaford, Lincolnshire, UK selects work by the very best of the current year’s graduates from art colleges and universities all over the UK, and gives them the opportunity of exhibitingat the NCCD.

    This year’s show explores the theme of function in objects. A range of high quality, visually striking artworks created by 18 specially selected graduates are on display. They demonstrate a diverse range of skills from fashion and jewellery to ceramics and automata.

    Class of 2013 will be open to the public until Sunday 19 January 2014 everyday excluding Christmas Day, Boxing Day and New Years Day from 10am to 5pm (3pm Christmas Eve).

    Ceramicists exhibiting in Class of 2013:

    Luke Bishop Ceramics

    Luke Bishop, Rongorongo: Forgotten Function 5, 2013, Porcelain and stoneware with latex additions, maximum H46 cm. Photo by Scott Murray.

    Luke Bishop
    HE Diploma in Fine and Applied Arts in Ceramics
    CityLit / London Metropolitan University

    Rongorongo; Forgotten Function is an exploration rooted in the language of function where both memory and meaning are lost. False lids, multiple spouts (some obstructed, some fixed, others detachable), curiously and illogically-placed holes and tubes intentionally disturb the recognized and accepted grammar and syntax of function, causing the viewer and potential user to experience a disruption in the affordance towards the object.

    In much the same way that an object excavated from the archaeological record only reveals to us a portion of its story, the meaning and uses of these vessels can never be completely recovered and known. Because the link between craft and everyday use has been permitted to slowly slip away from our collective experience, we are left with what we can only interpret but never fully explain. Function is forgotten.

    Luke’s work seeks to invite the viewer to wonder at these curious vessels, and to provoke us to awaken to the process of cultural richness being lost. Its creative corollary, however, is that such richness can endure when care is taken to preserve meaning, ritual, skill and knowledge?

    Zoe Clare Ceramics

    Zoe Clare, Invading Forms #4, #5, #6, #7, 2013, Porcelain, 56x61 / 34x48 / 17x30 / 30x60 cm. Photo by Scott Murray.

    Zoe Clare
    BA (Hons) Ceramic Design
    Central Saint Martins - University of Arts London

    Zoe is an artist who works predominantly with ceramic. She creates sculptures that are visually absorbing, rich in layers, texture and integral repetitive patterns.
    Zoe is influenced by the natural world around her and the discoveries made during her travels. The natural world, often overlooked, provides her with rich visual resources, which she then interprets and uses as a vessel to convey commentary and observations.

    The ‘Invading Forms’ series explores the effects and conservational issues of invasive, non-native plants and their effects on the bio diversity of South Africa’s endangered environment. The sculptures are a metaphor for the conservational issues and endangered biodiversity we are facing today.

    The sculptures, created in porcelain, take on the aggressive character of the invasive plants and become an invading form, growing organically and intrusively, absorbing anything and everything that is in its path.
    These structural forms are concerned with internal and external spaces and holds remnants of the extinct plants it has devoured inside for spectators to see. Sections of the invading forms are open, allowing the insides to be examined. Within are surprising textures and glazes depicting the exotic nature of the diminishing South African fauna and flora.

    Jade Crompton Ceramics

    Jade Crompton, Bubble vases, Ceramics, slip cast, semi porcelain, Pieces between 23x24 cm. Photo by John James Clare.

    Jade Crompton
    BA (Hons) Design
    Liverpool Hope University

    Combining traditional plaster mould making techniques with the modern techniques of 3D design, Jade uses prototypes and digital model making to create unique moulds for slip casting.
    Jade enjoys taking natural forms and applying structure and pattern using digital software, giving an organic and manmade appearance to her work. Overall her work is intended to be both aesthetically pleasing and functional.

    Her current work focuses on casting plaster moulds from 3D printed models and layering laser cut pieces of perspex, this process allows Jade to produce more detailed and precise designs. The works are inspired by the layers found in natural formations such as lava, rock and ice.

    Instead of using glazes or coloured slips which Jade finds too unpredictable, she uses airbrushed layers of under glaze which leaves a even matte coverage. She also adds a layer of clear glaze to the inside of her pieces which renders them waterproof.

    Ruth Harrison Ceramics

    Ruth Harrison (Porcelain, 2013, Photos by Scott Murray)
    Green Gradiant Strip / Red Gradiant Strip, 200x95 mm.
    Blue Disk with Orange Inlay / Yellow Disk with Blue Inlay / Green Disk with Red Inlay, 130x95 mm.

    Ruth Harrison
    BA (Hons) Ceramics
    Plymouth College of Arts

    Ruth Harrison uses porcelain to create sculptural forms using repeated elements. She is interested in symmetry and the idea of taking one shape and multiplying it many times over or around a cylinder. Her work evokes the childhood memory of running a hand or stick along a fence.

    Ruth chooses to use porcelain due to its white body when fired to 1260°c. Porcelain also works very well with coloured stain which she uses for some of her collections.
    Ruth draws the attention of the viewer to a section or strip of the finished piece using colour, texture or pattern which is added to the piece as it is being made. Each disk is hand cut using a cookie cutter from 3mm thick slabs of porcelain which are then cut in half, sponged, scored, slipped and attached to a slip-cast cylinder.

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  • Betty Woodman: CONTRO VERSIES CONTRO VERSIA / Gallery Diet, Miami

    Betty Woodman: CONTRO VERSIES CONTRO VERSIA exhibition Gallery Diet Miami

    Betty Woodman: CONTRO VERSIES CONTRO VERSIA / Gallery Diet, Miami
    an inaccurate history of painting and ceramics
    December 2, 2013 - January 1, 2014

    Gallery Diet is delighted to announce a solo exhibition of new works by Betty Woodman: CONTRO VERSIES CONTRO VERSIA an inaccurate history of painting and ceramics. The exhibition, which opens December 2nd, 2013, gathers a body of 2D and 3D works produced over the past two years that continue Woodman’s evolving relationship with painting, the vase, and the history of ceramics. Over the past several years, the resurgence in ceramics, craft aesthetic, and abstraction has led audiences to earlier generations of practitioners. Often credited as the “godmother of American ceramics,” Woodman is considered one of the pioneers in bringing the vase out of the craft world and into the realm of high art. As Peter Schjeldahl wrote of Woodman’s solo exhibition at The Metropolitan Museum of Art, “she is beyond original, all the way to sui generis. She has been well known in art circles since the 1970s, when her work was associated (incorrectly but advantageously, given the art world’s chronic disdain for anything that smacks of ‘craft’) with a briefly fashionable movement called Pattern and Decoration.” Since 1948, when she entered Alfred University’s ceramics program, Woodman has been pushing the boundaries of sculpture and form. This will be her second exhibition at Gallery Diet in Miami, Florida. Her work “Aztec Vase,” recently acquired by the Pérez Art Museum Miami, is also part of the inaugural permanent collections exhibition at the PAMM.

    Born in 1930, Betty Woodman is an American artist living and working between New York City and Antella, Italy. Her work is represented by numerous galleries around the world including Gallery Diet, Salon 94, Francesca Pia, and Isabella Bortolozzi. Her works are part of prestigious public and private collections such as The Boston Museum of Fine Arts, Cooper-Hewitt National Design Museum, Denver Art Museum, Metropolitan Museum of Art, Los Angeles County Museum of Art, Museum of Modern Art New York, National Gallery of Art, and the Pérez Art Museum Miami. Most recently her large scale installation Alessandro’s Room was exhibited as part of Unlimited in Art Basel 2013.

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  • Ceramics/Glass exhibition at the Ukrainian Institute of Modern Art, Chicago
    December 6, 2013 - February 2, 2014

    Exhibiting artists: Brent Rogers, Alex Trommler, Aaron Wolf-Boze, Eric Bladholm, Nikki Renee Anderson, Robert Pulley, Michael Janis, Xavier Monsalvatje, Yuriy Musatov, Anna Lypko.

    All images Courtesy of UIMA. (source)

    > More exhibitions / View the list of ceramic art exhibitions worldwide

  • » 7 Ceramic Art Competitions and Fairs Where You Should Participate in 2014

  • Interview with Bente Skjøttgaard

    Interview with Bente Skjøttgaard / Featured now
    By Andra Baban
    Published in Ceramics Now Magazine Issue 2

    As a Danish ceramic artist, do you consider the living climate an important influence in your work?

    I think it’s fair to say that my works have a certain Nordic nature component. Danish nature is not wild and magnificent – more one that offers quiet experiences: a misty morning over the ploughed fields; an old, dead tree; rainy weather that starts as dark streaks on the horizon; the weather clearing up after rain. Danish weather is changeable and often a cold, clammy affair, but this makes one more keenly aware of the light and small shifts in nuance.

    Your work have been described as highly experimental. From the slip-cast rigorous design to the hand-built structures, you have been experimenting different body of works over the years. How do you find yourself shifting subjects and manners? Is it a continuous change?

    I have never personally felt that I undertook dramatic shifts. I see my work as an on-going development, where one thing leads to the next. I will never completely finish – fortunately. While working, new ideas emerge that have to be tested. One could say that the experiments themselves ask the next questions. Ceramics has so many possibilities, and I like challenging the material and myself.

    Bente Skjottgaard Ceramics

    Portrait of Bente Skjøttgaard, 2010, Photo: Ole Akhøj

    What influences and inspires you the most in your creation? How would you describe your current body of work?

    With my background as a ceramist I nearly always have my point of departure in an idea to do with material or form. This can, for example, be new form expressions achieved by special compositions, or through cuts or glazing experiments that result in strange surfaces and textures. I often gain inspiration from nature’s formal principles and phenomena. Work takes place systematically and always on the premises of the ceramic material, but the investigations often develop into something that is reminiscent of large, amorphous nature-abstractions, with plenty of glaze. The fantastic thing about clay is that what is nature’s own material can constantly be transformed into something new and relevant.

    Delicacy and sensitivity are two powerful characteristics of your work. How much do you rely on intuition and how much on unpredictability?

    I make use of both in my work. Ceramics has an innate unpredictability, especially because it is out of one’s hands during the firing at high temperatures. This unpredictability is a challenging co-partner and opponent. All the time, one gets something more or less intentional for free, and from there one has to decide if and how it can be used. My intuition has probably been honed by many years’ experience of this process.

    Besides a very playful approach in manipulating clay, you ingeniously use colors and assets of glazes in your work. Tell us more about the importance of color and its use in your creations.

    Previously, I was mainly interested in the ability of glazes to interact and behave differently, according to the thicknesses involved. At my ‘Interglacial Period’ exhibition in Galleri Nørby in 2005, it was mainly green/turquoise, because copper is very good at producing that sort of thing. Then came the exhibition ‘Elements in White’ at Galerie Maria Lund in Paris in 2008, where I almost washed the slate clean and experimented with various textures within white glaze.
    It was not until the more recent works ‘Clouds’ that I seriously explored selecting more precise colours. Here I have thought more in psychedelic colours, the colours of the sky, sunrise, violet, pink and yellow. It has been interesting to include these more ‘un-ceramic’ colours.

    Bente Skjottgaard Danish Ceramics - Purple white cloud

    Bente Skjøttgaard: Purple white cloud no 1002, 2010, Stoneware and glaze, hand built, 37 x 55 x 27 cm. Photo: Ole Akhøj
    View more works by Bente Skjøttgaard

    You are one of the initiators and directors of the Copenhagen Ceramics platform. How did this project start? Tell us more about the objectives of this new Danish movement.

    The project Copenhagen Ceramics has been implemented by the ceramic artists Steen Ipsen, Bente Skjøttgaard and Martin Bodilsen Kaldahl, based on having noted that there was no longer any exhibition venue in Copenhagen where the best of the great diversity of ceramic expression existing in Denmark could be shown and experienced ‘live’. Another important aspect of the project is the Internet platform www.copenhagenceramics.com, which we wish to use to disseminate knowledge of Danish ceramics internationally.
    We have planned the 10 exhibitions for 2012: 4 solo exhibitions, 5 two-man exhibitions and a single group exhibition with six of the best ceramic artists from the younger generation. The individual artists have been selected and linked together in new constellations that enable completely new artistic facets in all of them to emerge – also among those already more established.

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  • Interview with ceramic artist Ken Eastman

    Interview with Ken Eastman / Featured now
    By Ileana Surducan
    Published in Ceramics Now Magazine Issue 2

    Ken Eastman’s work is on the cover of Ceramics Now Magazine Issue 2

    Why did you choose the vessel as the central element of your art? Was there a transition from functional vessels to sculptural ones?

    I have been working in ceramics continually since 1980. There have been periods when I have moved away from the vessel, but really it has been at the core of my work for most of the time since then. I do not make functional pots, but rather use the vessel as a subject - to give meaning and form to an expression. For a long time now I have realized that my overriding interest is making new coloured clay forms. This seems for me to be the essence of pottery- to make shapes which occupy and contain space and to decorate those shapes. By decorate, I mean to paint slip or glaze, to draw, to make image or line across the skin of the clay.

    Ken Eastman Ceramics

    Ken Eastman: For all we know, 2010, Stoneware with painted coloured slips and oxides, 43x31x37 cm.

    Does your creative process start from a certain image in your mind, or do you seek for inspiration as you progress?

    I have always made things - at first out of Lego and wood and for a long time now, using clay. Working on how to approach creating, so that I can go to work every day and explore shape and colour and move forwards, is always hard. The breadth of ceramic possibilities means that to make any progress it is necessary to build up some strict limitations. I use writing and drawing to approach the spirit of a piece of work, but I do not draw an ‘architectural plan’ of the piece that I am about to make: ideas that work in two dimensions are often different from those that are successful in three dimensions. Also, if I knew exactly what I was going to make before I started work in clay, there would be little room left for the play and invention that is an essential part of creative work. A large part of the reason for making is to see things which I have never seen before - to build something which I am excited about and wish to show and share with others. So I try not to plan anything except roughly how to proceed within my imposed limitations.

    Tell us about the slab building technique that you use. What are the challenges that you encounter and the skills that it requires?

    I roll out slabs of white stoneware clay by hand with a wooden rolling pin. Most of the rolling is bashing the clay flat and the rolling smoothens the material towards the end of the process. From the moment I start rolling out slabs I have to start making decisions - not what the piece will look like, which will in time become clear, but the details - how wide, how long, how thin or thick the slab, choices which determine shape. The objects which I make are clearly defined, they have drawn ground plans, smooth walls and clear edges, but this resolution emerges slowly. There are certain curves and curlings which a thin slab can manage better than a thicker one, but sometimes it’s the soft fatness of a rim or the weight of a piece which is more important.

    Colour is an important part of your work. How do you see the interaction between colour and volume?

    As soon as possible in the making process, I begin to make marks on the surface with coloured slips and oxides, whilst the clay is still quite wet. I paint on numerous layers of colour, firing the work repeatedly. I apply it in response to three dimensional form and it is in this way I paint the surface in order to explore and make sense of what I have made. I don’t know what colour I want a piece to be until I find it by working - building up layers of colour can often feel more like a stripping away to reveal what was meant. I am interested in the relationship between colour, the illusionistic space of a surface and actual space. This relationship is a complex one - as well as inhabiting the 2 dimensional space on a curving plane of clay, colour can, in a sense fill the actual 3 dimensional space of the vessel itself. Glen Brown in writing about my work said that colour becomes “volumetric, contained, like real space itself, by the vessel walls rather than merely carried on them: it becomes a fundamental content of the work rather than a superficial aspect of it.”

    Today’s contemporary art puts a lot of emphasis on dynamics and interactivity. In this context, what is the merit of an art work that encourages contemplation as an aesthetic experience?

    Being a static artwork does not exempt it from being dynamic or profound. Art work which is three dimensional demands that the viewer moves around the work and becomes involved in order to experience it and to contemplate it, which is of course a truly dynamic and interactive experience.

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  • Interview with Liliana Folta

    Interview with Liliana Folta / Spotlight
    By Ileana Surducan
    Published in Ceramics Now Magazine Issue 2

    What sparked your interest for ceramics?

    I was in college taking painting classes and I wanted to learn sculpture. One day I stopped by the sculpture lab to ask the instructor if I could audit the class. She agreed and handed me a piece of clay. I was amazed at the work of the students. A retired engineer was making intriguing ceramic sculptures. The forms were powerful and provocative. At that moment I thought of how versatile and expressive clay could be to express both powerful and delicate ideas. It was, for me, the medium of infinite possibilities.
    Immediately my brain had an explosion of ideas. I fell in love. I realized I could create 3D from some ideas of my paintings. In fact, I ended up sculpting so many pieces during the class that The Art Department awarded me a grant to do a whole semester and also the first solo show ever done by a student in the college.

    Liliana Folta Ceramics - An Abstract Poem of Freedom

    Liliana Folta: An Abstract Poem of Freedom (detail), 2009, on going traveling/interaction/installation.
    > View more works by Liliana Folta

    Besides ceramic art, you have also created paintings and murals in order to express your inner universe. How does working in three dimensions change your creative process? Do the processes differ a lot between these mediums?

    When I work in 3D, the process of creativity is more fluent, very spontaneous and I can communicate with feelings that I didn’t know I possessed until I felt them in my hands. I can transform them into something visual for others to see. It is a natural process, born of my subconscious. Back in my childhood, I recall helping my father in the garden and end up making objects with mud.

    In my paintings, it’s me: my surroundings, my past and present, something very personal and intimate expressed through a different tactile experience.
    As with murals, most of them have been collaborative works I’ve done with students at schools. The first one I made came out of the blue. A friend asked me for ideas on what to do with a wall where the tiles had been removed. I had the idea to teach the students about mural making and the importance of recycling material to make art. That’s how the first mural was born.

    You express yourself freely using clay. What are the main materials and ceramic techniques that you use?

    I like to experiment, so I have been using different kind of clay, such as stoneware, low and mid-fire with glazes and oxides. When I do mixed media, especially installations, I like to integrate other materials like metal, found objects and fresh water pearls. I use handmade techniques from slab, clay relief, and impressed texture to carving.


    Your past experience and your personal history seem to be an important source of inspiration for you. Tell us more about the symbolism of your work.

    Maybe that’s why I work in different mediums; I am much better expressing my self visually. Sometimes an image will stay with me and I am compelled to paint or sculpt it. Much later, I will realize that these images have a much deeper significance to me, one that transcends the visual. These images become symbols of social-political issues that are at the core of my world views and concerns. For example in the ceramic chains installation, the chains remain unconnected and loose, which symbolizes the right of freedom of the individual; regardless of religion, race, country, and gender. Freedom of expression is something that we, as humans should never have to give up.

    Many of your works have an intrinsic femininity. How does being a female artist influence the themes and the ideas you choose to represent?

    My themes and ideas begin with personal experiences, past, present, as well as everything that surrounds me: people, places and objects. Sometimes stories interact with different characters in different circumstances. I also like to create surreal landscapes for them.

    The white flowers I used in the “Warrior’s Series”, are images from my bank of memories of my father’s garden; he used to mix the flowers in the vegetable garden, which was my play yard during my childhood. “After Chaos”, a woman sleeps peacefully. She is able to find tranquility because she is surrounded by “white warrior flowers” - deceptively frail, and yet possessing all of the strength of memories, nature and the power of womanhood. These flowers guard her as she rests before facing whatever trials the day may bring to her.

    You come from Argentina, and you define yourself as a Latin American artist. How does your cultural heritage reflects in your creative experience?

    My Latin American roots inform my work. I was born in Argentina, my parents were immigrants of the World War II, and so my back ground tradition at home had a strong European flavor. Even so, I grew up proud for the country that welcomed my parents and the country they taught me to love. Moreover, I am also married to a Puerto Rican man, my son was born on the island too and we spent many years there. This is yet another passage in my life, where the colors and details are reflected more in my paintings than in my ceramics. So you see, my cultural heritage is a potpourri of different tradition and experiences, and everything is reflected in my art.

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