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

Art

Marie Torbensdatter Hermann exhibition / Galerie Nec, Paris

Marie Torbensdatter Hermann exhibition Galerie Nec, Paris

Marie Torbensdatter Hermann exhibition / Galerie Nec, Paris
October 26 - November 24, 2012

"The work reflects on some kind of strange family of domestic objects, they are bound together by a form of action, something undefinable but with a hint of a purpose. As if they are there for one very specific reason, each with a small specific individual function, but on their own they are un-significant, it is as a group how they become useful and self-sufficient. It is in the choice of grouping certain objects with each other and in the spacing of them, that they come into existence. I also see a big part of my practice as an arranger. Someone arranges objects and creates small details, small shots taken from a lager scenario. As if we have the time line in constant flux, I make the decision on where to cut out one image and create that as a memory of what ones was, before it moved on to become something else." Marie T. Hermann

“Looking around Marie T. 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. As is true of most potters, even those working in the manner of installation artists, daily use is constantly at issue for her – either as a haunting presence or a conspicuous absence. The inclusion of two plates, one sunk into its shelf and the other just emerging, gratifies our expectations on this score, even as the closing off of vases at the mouth refuses it.

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.

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  • Francesca DiMattio: Bloemenhouder and Kandelaar / Pippy Houldsworth, London

    Francesca DiMattio: Bloemenhouder and Kandelaar exhibition Pippy Houldsworth Gallery London

    Francesca DiMattio: Bloemenhouder and Kandelaar / Pippy Houldsworth Gallery, London
    October 10 - November 17, 2012

    Pippy Houldsworth Gallery is delighted to present young New York artist Francesca DiMattio’s first solo exhibition in Europe from 10 October to 17 November 2012, and her first showing in London since her large scale canvases were seen in Saatchi Gallery’s Abstract America in 2009. Bloemenhouder and Kandelaar offers us the opportunity to see DiMattio’s vibrant and painterly sculptures standing on their own, showing the vitality and eccentricity of the large-scale ceramic pieces she has been developing over the past two years.

    DiMattio’s paintings have often made reference to feminine craft techniques such as sewing, weaving or quilt making. In an attempt to shift the assumption that these crafts are most often delicate or small-scale domestic creations, she scales them up and uses a rougher, more masculine hand. Keeping with an interest in domestic craft, it is fitting that her sculptures are formed from ceramic. Using a material deeply ingrained in rules, craft and history, she turns it on its head by irreverently pulling from its history and pairing extravagant reference with crude slabs marked by fingers and punch marks.

    In this exhibition, DiMattio investigates the history of porcelain to examine the ways in which visual iconography moves through culture. She looks at how porcelain’s visual history is one of copies, fakes and re-makes; how a revered technique such as the blue and white design found on a Ming Vase was copied by the English, Dutch and French, morphing and changing slightly through each iteration, and can now be found on a kitsch object in a gift shop. Like her paintings, the sculptures here juxtapose conflicting historical references, from 18th century English Wedgwood, French Rococo and Ming Dynasty to kitsch animal figurines. These are grafted objects, fusing disparate elements into a curious new whole. Each piece is made completely as one, rather than from found forms put together after the firing. The different passages affect one another, with glaze from one element interrupting, transforming and connecting multiple facets of the same sculpture.

    DiMattio’s new work incorporates bases and handles of various forms, from gilded heaps of clay to delicately sculpted adorning flowers. Bases of piled up clay are reminiscent of Chris Ofili’s elephant dung, whilst a slumping torso-like coil pot seems on the verge of collapse. Debris made by sculpting animalia has been collected and put on the adjacent surface, creating a rough texture made of dust, chunks and trimmings, and elements in high gloss sit next to bright matte colour. DiMattio creates unstable and shifting objects that are a combination of various logics of taste. In Cuvette à Tombeau, one moment the china-painted landscape is beautiful and the bright rough-textured yellow feels broken, crude or flawed, and on a second look, the texture becomes vibrant and rich, whilst the landscape becomes something you might find in a thrift shop. The changeability of taste is heightened and examined through DiMattio’s uncanny pairings that ask the viewer to look closely at and interrogate these new abstract and de-hierarchised forms.

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  • The Open West 2012 Award Winners exhibition / Gardens Gallery, Cheltenham, UK

    The Open West 2012 Award Winners exhibition Cheltenham

    The Open West 2012 Award Winners exhibition / Gardens Gallery, Cheltenham, UK
    November 15-20, 2012

    Private view: Thursday, November 15, 6 pm.

    Artists: James P. Graham, Haruka Miyamoto, Koji Shiraya.

    Following the open west’s acclaimed exhibition at Gloucester Cathedral earlier this year, curators Lyn Cluer Coleman and Sarah Goodwin are now presenting an exhibition of the three award winners, James P Graham (University of Gloucestershire Award) Haruka Miyamoto (Ecotricity Award) and Koji Shiraya (Curators Award).
    This year’s award winning artists are connected by their concerns for the environment, showing acute awareness of the origins of the materials they use, from base metals to volcanic rock, leather, waste rubber and plastic, porcelain and feldspar.

    James P Graham lives and works in Italy and London and exhibits internationally. Originally trained in film and photography, James’ recent sculptural work is informed by landscape and nature. His new sculpture, Golden Cage, coming to Cheltenham directly from the Chelsea Physic Garden, uses volcanic rocks from the active crater on Stromboli, which have been wound and suspended with gold thread. The work “symbolises man’s attempts to imprison and control nature,” (CNN, Eco Solutions, 20.7.12).

    Haruka Miyamoto lives and works in London. Her training is in textiles (recently graduated from Chelsea College of Art & Design) and she works as a fashion, shoe and product designer as well as an artist. “The idea of my work is based on lifecycles in nature. I rescue materials from the bin and give them a second life, so they don’t end up in landfill. The impact that humans have on nature can be devastating. The dodo, which became extinct due to human activities, is a symbol of extinction.” Haruka showed in British-ish, the best of the UAL design graduates at the V&A for London Design Festival, and auctioned her work ‘Extraordinary Rubbish’ in the Faberge Egg Hunt 2011.

    Koji Shiraya who works in London and is soon to return to Japan, is an artist who completed his MA in Ceramics and Glass in 2010 at the Royal College of Art. His work After the Dream shown in the darkened crypt at Gloucester Cathedral captured an intriguing ambiguity, using porcelain spheres as metaphors for the mind, and its Gardens Gallery setting will stimulate a new language. In his sculpture Trinary 2011 all of the samples in the jars are filled with some of the main components of the earth’s crust. Koji has shown work at Einfall: Beyond Spontaneity at the Freud Museum and at Designers & Makers at Somerset House.

    Applications for the open west 2013 will be received from December. See theopenwest.org.uk for full details.

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  • Caroline Andrin and Francois Ruegg / Puls Ceramics, Brussels

    Caroline Andrin and Francois Ruegg / Puls Ceramics, Brussels
    October 13 - November 17, 2012

    Caroline Andrin exhibition Puls Ceramics, Brussels

    Caroline Andrin
    Swiss ceramist Caroline Andrin maintains her studio in Brussels as well as holding the Ceramics Department chair at La Cambre. Widely traveled and exhibited, this is her second Puls exhibition. Andrin has entitled this series of work Skin Game.

    Much of Andrin’s art has been inspired by the examination of the intimate relationship that we have with the objects in our everyday environment, objects that we wear or use. Throughout her career, Andrin’s work has developed from one object to the next, sometimes by taking into consideration the function of the original object and sometimes by a larger context. She has been inspired by the principle that every form hides another form within it and that through a process of her own using clay, both the inside and the outside of an object can be made visible.

    The title of this series is particularly apt. It asks many questions. Skin: what is it, when and where do we encounter it, and what deeper consequences does it hold for us as individuals and our values. We seldom pause to remember that the skin of a mammal—and specifically humans—is the largest organ in the body. As for game, is it the mere entertainment of stalking and bringing back a trophy to hang on a wall or the hides that kept our prehistoric ancestors alive through the Ice Ages?

    The series consists of an ensemble of Trophies and Accessories. Game here of course assumes its double meaning, referring to play as well as hunting.

    Andrin pits our visual perception against our sense of touch. She has captured the visual qualities of skin and then assaults the innate coordination of our sense with entirely the wrong texture. The work certainly has the look but not feel. She is challenging the very essence of the materiality we expect.

    Each Trophy originates from a pair of leather gloves. The gloves are turned inside out, cut up and sewn back together in order to make a mold into which clay is poured. This process involves the casting of clay slip. Traditionally clay is cast in plaster molds. Since 1996 however, she has used material for molds that leave a trace on the final object. This is a verification of the idea that one form contains another.

    The manipulation of the original object (the leather glove) creates an imaginary bestiary which speaks of the skin. Andrin examines our emotional relationship with objects and in this case, all that the objects represent.

    Francois Ruegg exhibition Puls Ceramics, Brussels

    Francois Ruegg
    Francois Ruegg is an award winning Swiss ceramist exhibited at Puls for the first time. Ruegg intentionally uses allegory to color the figurative presence of his objects and their complex allusions. He plays with our innermost expectations, our stereotypes, and sends us on strange trains of thought. Ruegg deliberately leads us astray as he challenges our internalized landmarks and creates confusion in our perceptions. This is work that provokes, destabilizes, and opens up only enough to give up a few clues to understanding.

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  • Jannis Kounellis / Parasol unit foundation for contemporary art, London

    Jannis Kounellis exhibition Parasol unit foundation for contemporary art, London

    Jannis Kounellis / Parasol unit foundation for contemporary art, London
    28 November 2012 – 24 February 2013

    Preview: November 27, 2012, 6:30 – 9:00 pm.

    Parasol unit foundation for contemporary art is delighted to present a solo exhibition of works by painter, sculptor and performance artist Jannis Kounellis from 28 November 2012 to 24 February 2013 (Private View, 27 November 2012).

    Considered a protagonist of Arte Povera, an art movement that emerged in Italy during the 1960s, Kounellis embarked on his artistic career by creating some of the most radical art works of the time. Often combining the inanimate and animate, he boldly incorporated things such as propane torches, plants and animals as integral if not vital parts of his works. He also introduced the notion of performance within works of art, something that to this day continues to inspire artists around the world. In all these works Kounellis drew from his deep knowledge of and sensitivity to cultures of the past and his own heritage, in itself a spirited discussion between collective and personal experiences.

    The exhibition at Parasol unit aims to consider Kounellis’s early works from the 1960s, 70s and 80s and his own response to them from today’s standpoint, which often culminates in a more recent and spontaneous work. This juxtaposition of works of art from the different decades should thus engender an arena for discussion. On show will be works, such as Untitled (Carboniera), 1967; Untitled (steel plate and braid),1969, on loan from Centre George Pompidou, Musée national d’art; Metamorphosis, 1984, and Untitled, 1977, an electric train moving on steel plates installed around one of the pillars of the Parasol unit gallery.

    Born in 1936 in Piraeus, Greece, Kounellis moved to Rome in 1956, where he still lives and works. In recent years, Kounellis has had numerous solo exhibitions internationally, including, among others, at Neue Nationalgalerie, Berlin, 2007; National Centre for Contemporary Art, Moscow, 2011; Today Art Museum, Beijing, 2011; and Museum of Cycladic Art, Athens, 2012.

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  • Olaf Breuning: Human Nature / Pippy Houldsworth Gallery, London

    Olaf Breuning: Human Nature exhibition Pippy Houldsworth Gallery, London

    Olaf Breuning: Human Nature / Pippy Houldsworth Gallery, London
    November 23, 2012 - January 12, 2013

    Private View: Thursday 22 November, 6-8 pm.

    Pippy Houldsworth Gallery is delighted to present a new commission for The Box by New York based Swiss artist Olaf Breuning. Breuning is known for his diverse and humorous explorations of the relationship between art, life and contemporary culture. Working across film, photography, sculpture and drawing, Breuning investigates the absurd and the surreal, creating perpetual punch lines and endless drama resulting from an instinctive relationship with language and materials. Here, Breuning creates a new installation for The Box, translating a new stick drawing into a precarious miniature metal sculpture. The Box is a micro project space consisting of a floating white cube set inside a black vertical opening. It is a unique architectural space through which the gallery facilitates new projects with important emerging and established artists. Previous commissions include Ai Weiwei, Martha Rosler, Ruth Claxton and Daniel Arsham.

    Breuning’s solo exhibitions include the Institute of Modern Art, Brisbane; Palais de Tokyo, Paris; Chisenhale Gallery, London; Migros Museum für Gegenwartskunst, Zurich; Centre d’Art Contemporain, La Chapelle de Geneteil, Mayenne; Kunstmuseum, Lucerne; and the New Stedelijk Museum, Amsterdam. Group shows include Museum of Contemporary Art, Kraków (MACAK); Saatchi Gallery, London; FLAG Art Foundation, New York; Museum of Contemporary Art, Miami; The Power Plant, Toronto; CCA Wattis Institute, San Francisco; 54th Venice Biennale; MoMA PS1, New York; MoMA, New York, Whitney Museum of American Art, New York; and S.M.A.K, Gent, Belgium. His work is represented in collections including Fonds National d’Art Contemporain; Grafische Sammlung des Museums für Gestaltung, Zürich; Kunsthalle Hamburg; Louisiana Museum, Copenhagen; Musée d’Art Moderne, Paris; UBS Collection and Saatchi Collection, London.

    Above: Olaf Breuning, Smoke Bombs 2, 2011, C-print (1/6), 120 x 150 cm.

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  • Anne Tophøj and Marianne Nielsen: Elitist Folklore / Copenhagen Ceramics

    Anne Tophøj and Marianne Nielsen: Elitist Folklore exhibition Copenhagen Ceramics

    Anne Tophøj and Marianne Nielsen: Elitist Folklore / Copenhagen Ceramics
    October 25 – November 17, 2012

    Artist talk: Saturday, October 27, at 2 pm.

    The dish, the plate, the table and the flower. These common everyday objects and the most beloved iconic shapes from nature are framing in the lives of most people. For their shared exhibition at Copenhagen Ceramics Marianne Nielsen and Anne Tophøj are investigating why and how we value these universal expressions of culture and nature. But what is elitist folklore? What does it look like from their point of view?

    Marianne Nielsen occupies a very special position in Danish Ceramics. She takes interest, in an almost nerdy way, in the role of nature in our culture. In recent years her work often has concluded in definite renderings of natural subjects: mountains, feathers, leaves and now flowers and plants. As a kind of souvenir they refer to something beyond ourselves, being continuous, universal and something which, through its authenticity, contains an essential beauty. Yet, the representations of nature are about ourselves, since they only acquire their meaning through our very own gaze.

    Marianne Nielsen articulates this: ’Flowers hold a modest position in the arts as something banal, soft, often assigned the subordinate part. For these pieces I have let the flower be on its own, allowing it to make up the entire work. The works are about what is not directly present – the references linked to flowers, both as representatives of beauty and natural souvenirs. But they also deal with that particular application that has worn down the flower-motif and turned it into a cliché.’

    In a similar way Anne Tophøj is working with the values and inherent meanings of things. Either because the artifacts contain specific images or symbols that pass on a story or message, or by suggesting a particular use or way of handling.

    Characteristic of her work she investigates the dish and the plate, objects that we are all very familiar with and make daily use of. As she herself puts it:The plate and the dish are signs of human culture and how we raise ourselves above the animals; they are pivotal in all eating rituals and our daily meals. Artefacts that we all have in common – universal, banal, indispensable tools helping us to sustain life. They are beloved and treasured objects that different cultures and times have shaped endlessly for use and for ornamentation, for the table and for the wall.”

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  • Ceramics Now Exhibition, 3rd edition / Galateea Gallery, Bucharest, Romania

    Ceramics Now Exhibition - International contemporary ceramics exhibition, third edition

    Ceramics Now Exhibition, 3rd edition / Galateea Gallery, Bucharest, Romania
    November 8-26, 2012

    Opening Reception: Thursday, November 8, 6:00 PM.

    The international Ceramics Now Exhibition is an itinerary exhibition of contemporary ceramics which presents works of artists that are featured in Ceramics Now Magazine’s platforms or are invited. The exhibition reunites artists from different countries and communities, and facilitates contact between them and the public. Ceramics Now Magazine and Exhibition operate as an exchange platform between artists, galleries, museums, collectors and people passionate about art.

    In the context of the globalization of arts and of rapid exchange of information, it is more and more necessary to make a serious coagulation of what is contemporary ceramics. The incorporation of many diverse subjects, working techniques and mediums in creating a ceramic object, are more and more frequent, risking if not counterbalanced, to take this domain back to crafts. The harmony between the compositional elements and concept can be realized through exercise, and this exercise is a reference point for contemporary artists. In creating a contemporary ceramic object, an equilibrium can be reached by those who feel the need to create and who create with depth. Originating either from Australia, Africa, Europe, Asia or America, practice, delicacy and accuracy are characteristics that unite them. The Ceramics Now Exhibition reunites these artists and brings their work together aiming to create an open platform between them and the public. The third edition of our main event will be held between 8-26th of November 2012, at Galateea Gallery, Bucharest, and will present the works of 22 world-renowned contemporary ceramic artists.

    EXHIBITING ARTISTS: Steve Belz (USA), Gherghina Costea (Romania), Kimberly Cook (USA), Ossama Mahmoud Emam (Egypt), Nato Eristavi (Georgia), Jason Hackett (USA), Teresa and Helena Jané (Portugal), Brian Kakas (USA), Yoichiro Kamei (Japan), Kentaro Kawabata (Japan), Allison Luce (USA), Nicolae Moldovan (Romania), Akio Niisato (Japan), Heide Nonnenmacher (Germany), Szilvia Ortlieb (Austria), Barbara Schmid (Austria), Avital Sheffer (Australia), Suzanne Stumpf (USA), Kouzo Takeuchi (Japan), Shinya Tanoue (Japan), Kwok-Pong Bobby Tso (China), Gavril Zmicală (Romania).

    Curator: Vasi Hîrdo
    Coordinator: Cristina Popescu Russu

    Ceramics Now Magazine is a comprehensive and innovative publication & online art platform specialized in contemporary ceramics. Founded in 2011, the magazine celebrates the creative field of ceramics through publishing interviews, reviews and works of new and world-renowned ceramic artists, and providing information on contemporary ceramic art exhibitions.

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  • Cristina Popescu Russu - Romanian ceramic artist, October 2012

    ROMANIAN CONTEMPORARY CERAMICS, October 2012: Cristina Popescu Russu

    Cristina Popescu Russu - Romanian contemporary ceramics

    Interview by Alexandra Mureşan for Ceramics Now Magazine - Issue Two

    In 1975 you graduated Ceramics at the Nicolae Grigorescu Arts Institute in Bucharest. You have been active in this domain for over 35 years, all marked by a large number of exhibitions, as well as participations to international symposiums. How was this passion for ceramics born? Have you had any masters that marked your career?

    In the Music & Fine Arts Highschool in Craiova, the teachers Şopov Cole Nicos, Ion Marineanu and Vasile Buz have inspired me a love for painting as well as for molding. I fell in love with our prehistoric ceramics and from then on I knew I would dedicate myself to this domain.  
    In the N. Grigorescu Arts Institute in Bucharest I had the privilege of meeting remarkable teachers: Lucia Ioan Neagu, Costel Badea. I learned something from each of them, namely to learn as much arts history as possible, to investigate, to experiment and to be creative at the same time, to not plagiarize, to know that talent had no significance without daily work, and that only the well made work, the passionate one - can lead to performance.
    Being fascinated by the renaissance techniques in painting and by the technology of ceramics - like I was then, I used to work all day long in the Institute with the love and the exigency that have been taught to us by our professors.

    The material that you most often work with is porcelain. What determines you to prefer it to all others? What are the artistic proprieties of porcelain that makes it more suitable for you than any other material?

    In the ’70 and the ’80 there was collaboration between the arts institutes and the factories in the country that specialized in porcelain, tile, sandstone, glass and other materials. The students used to make their internship and their diploma works there, benefiting from what is vital for an artist: the specific materials and technologies. My love for porcelain was born there as a challenge. Only the ones who have knowledge in the technology of ceramics can comprehend how difficult it is to achieve performance when porcelain is the material of choice. It is a difficult material, hard to manage, because it has a memory and you have to know with precision the distortions, the contractions, the burning curves, when you want to obtain something in particular. Everything is fascinating about this material: the pure white, the translucence gained by the thinning of the fragments, its resonance when it is well burned, its preciousness. 

    [] Read the full interview in Ceramics Now - Issue Two

    You are the founder of Galateea Gallery, the only gallery in Romania dedicated to promoting contemporary Romanian ceramics. What is the Gallery’s history and what are its projects?

    In 1953, the Artists Union in Romania is granted the use of the space for an exposition hall. In 1955, arh. Eugen Vernescu arranges it to host painting and sculpture expositions. Twenty years later, arh. Mircea Coradino dramatically modifies its interior and façade, and the art critiques Mihai Ispir and Mihai Drişcu titled it Galateea Gallery.

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  • Arina Ailincai - Romanian ceramic artist, October 2012

    ROMANIAN CONTEMPORARY CERAMICS, October 2012: Arina Ailincăi

    Arina Ailincai - Romanian ceramic artist, Romanian contemporary ceramics special feature

    Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two
    Translation by Anca Sânpetrean

    What was your first contact with ceramics?

    The first meeting with ceramic took place when I entered the university, as I decided to take the admission exam for the Ceramics Department. The reason for this option was the liberal reputation held by the Ceramics Department, mainly due to the young teachers of various formations, who were encouraging the free investigation subordinated to an “interdisciplinary” that at that time was quite attractive.

    Because originally I had a sentimental inclination for Graphics - I was more familiar with expressing myself through lines and white / black tonal values. My way of perceiving the world and building volumes remained indebted to the graphic vision.

    After graduation, due to my job as a designer at the porcelain factory in Cluj, I familiarized myself with the subtle expressivity of porcelain and its processing technology, practicing with this material for a long time, and ending up loving it.

    You have participated in many competitions and international group exhibitions. What are the most important things you have learned by taking part in these events?

    For me they represent a form of self-assessment and validation of my personal approach to ceramics in a context of ongoing dialogue with other colleagues. As for the residences and symposiums, they are extremely benefic cultural exchanges for the refreshening of one’s ideas. They also bring the sense of being an ambassador of one’s own culture and historical traditions who makes a personal contribution, no matter how small, to the international artistic context. These kinds of events are especially significant for Romanian artists who have suffered, as we all know, from a period of political restrictions that had made the direct contact with the cultural world outside the Communist Bloc almost impossible.

    What message or feeling do you want to convey to your viewer through your works? The portraits and the imprints that constitute your work are part of the artistic approach, or they are simply the result of a process of searching?

    I find it hard to give a clear answer to this question, because it implies a number factors of which an artist is not always aware. Maybe is best to say that my works are the imprint of my inner trials and tribulations. In other words, they are a way of sensitively relating to the socio-cultural climate that surrounds me.

    How the viewer can “read” my work, depends on one’s cultural heritage or current state of mind, and on other many things… but the perception with its various interpretations will always remains an open question. But oh, what joy we experience when the viewer interpretation comes close to the intended meaning, proving that our discourse is not just a monolog lost in void. 

    [] Read the full interview in Ceramics Now - Issue Two

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  • Marta Jakobovits - Romanian ceramic artist, October 2012

    ROMANIAN CONTEMPORARY CERAMICS, October 2012: Marta Jakobovits

    Marta Jakobovits - Romanian ceramic artist

    Interview by by Ileana Surducan and Alexandra Mureşan for Ceramics Now Magazine - Issue Two

    What message or emotion do you want to convey to the observer through your works? Is your artistic undertake based on a certain idea or is it more of a searching process and experimentation?

    For me, this process is never conscious, programmed or preconceived. It is more of a constant experiment that is absolutely instinctive. My only guides on this path are those primal, undefined sensations generated by touching and feeling the malleable and permissive clay.
    Only afterwards I come to realize with wonder that a kind of actualization takes place - a humble identification, like a translation of some archaic, immemorial message. When I stop and ”read” the pieces that I created, and I analyze the way I created them, I marvel and realize that an actualization was already in me, that that translation was made through me.
    Good or bad, this is my path; through it I try to understand, not in a rational way, but rather through sensations and feelings, some of the facts of my existence, trying at the same time to leave some signs behind, signs that have meaning only if they are perceived by others.

    [] Read the full interview in Ceramics Now - Issue Two

    Many of your works are created in raku – a technique that is not the most convenient for everybody. Why did you choose this technique? What are the advantages and disadvantages that it presents?

    Raku is a technique that allows one to obtain very special and organic effects, both surprising and discreet. The expressive potential of the surface is greatly enhanced and can vary according to time and to different types of materials used in the burning – crumbled paper, sawdust, grass or dry leafs. Because of the strange appearance obtained through the ulterior reductions, the objects that are born through raku seem to me to be part of an ancient world, they appear timeless.

    The process of preparing the clay for the object that will be raku fired is special and equally important to me, because this offers just as many possibilities. The preparation involving different salts, oxides, engobes or glazes, in diverse combinations gives the final piece a special and unique visual individuality.
    Throughout the years I tested many of these possibilities, and through numerous repetitions I tried to understand and feel the spell of prompt intervention and immediate decision. These interventions can give you the impression that you work directly with the magical proprieties of the ceramic material.

    Marta Jakobovits Contemporary Ceramics featured on Ceramics Now

    Clay is perceived by many to be a docile and easy to manipulate material, but a real ceramic artist knows its potential and limits. In your opinion, what should be the relation between an artist and the material he uses?

    Clay is a material that is very open to the tactile dialog of touches, and this opening is very important to me because it creates a link to a world full of miracles and secrets. Through the material I am capable to connect with messages from ancient times. Clay seems to transport me into a different time, a different dimension. This is the reason why, whenever I find myself face to face with clay I try to reach the highest level of sincerity.

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  • Anti-Utopias / Sabin Bors - EXTRA!, October 2012

    EXTRA!, October 2012: Anti-Utopias / Sabin Borş

    Anti-Utopias contemporary art platform

    Interview by Vasi Hîrdo for Ceramics Now Magazine - Issue Two

    You hold functions such as curator, associate editor and columnist for different magazines, and you recently initiated a contemporary art platform titled Anti-Utopias. Since you don’t have any formal art education, how did you become interested in contemporary art?

    Art has always been one of my main interests, ever since I was a kid, and though I did not follow any formal art education, I did follow an MA in philosophy and culture where some of the major topics we discussed have been Art, Institutions and Cultural Policies, The Artist’s Statute in Post-Modern Culture, or Contemporary Perspectives Upon Culture. I also follow a PhD with a thesis on the future of museums, in terms of art, policies, architecture. Throughout the years I’ve kept a close contact with art in my readings and references, and I think coming from the “outside” is actually an advantage because it allows me to view art in a broader context and integrate its discourse differently. At the same time, I am also aware of the two perils with philosophers discussing art: on the one hand, they run the risk of subsuming art to a philosophical speech; on the other hand, they can feed art with concepts that only deepen the dilemmas of contemporary art and thus contribute to its fractures. When I started Anti-Utopias, my main concern was to create a thematic platform bearing in mind these two perils precisely, but also the theoretical abundance where art in general claims itself from. 

    Tell us about Anti-Utopias. Why did you choose the utopian – anti-utopian motive as the theme of your project?

    In spite of all the discourses on contemporary art, I think it is still trapped in a false attempt to surpass its own modernity. The artistic discourse still tries to dissect its own foundation and remains somehow captive inside artificial constructions, based on imitation. I am equally circumspect whether discourses crediting the derivative modernities can indeed not only resurrect, but actually redeem the project of modernity. These modernities are based on alter-constructions that complete the same project, though they construct on the margins of modernity. We relate to the same referent, and hope our alter-construction will indeed rescue notions and practices. Art is caught in this paradox: on the one hand, it has to constantly shift its aims outside the marges, because when you construct on the marge, the marge itself becomes a center; on the other hand, art contributes to a global process of territorialization, precisely in this movement it needs to operate. It’s like an expanding fissure that deepens the faults. And it is along this fissure that one can understand the exposure of art, in what this fissure draws ahead, but especially in what it leaves behind, not only as a trace, but in that which remains. Art is this rest, this remnant. Art is reversion. And I think this is one of the ideas and concepts that I need to develop further, this idea of art being a reversion.

    When I started this project I knew I was placing its theoretical horizon under two major discursive pressures. The first one is this unsuccessful attempt to give an answer to an utopia other than by formulating another utopia, and the second is the use of the prefix “anti-“ itself, which does indeed bestir a number of critical reflexes and exercises. Obviously, there is no exit from utopia, and the more we seek to counter this statement, the more we end up in utopias of the refusal or in the utopias of some alter-constructions. From my perspective, anti-utopias don’t claim themselves from a refusal or a counter-position, nor are they the expression of a cultural, historical, or political transgression. They do not fall into the metaphysical discourse where anti- would refer to a sort of anti-metaphysics, and I don’t see them being shaped as a means of counteracting either. For me, anti- should refer to a state of exposure, to a certain openness which is not only affirmative but also all-embracing, definitive, and which can be understood on multiple levels: over-exposure, exposure to the certitude of death, exposure to a certain risk and impossibility, exposure to its own tragedy, etc. It is an exposure not only to the unpredictable, but also to a subtending dread defining art and life itself – a fear of dying, the interruption of breath. And though this discourse may seem to bear away from the current artistic discourse, I still think it is this dread that art is running away from. And this can be seen in all its diversity, separations, counter-currents, and reconsiderations. Not lastly, I think that the insistence upon difference/differences cannot account for the current state of things any longer, but only perpetuates the discursive and political impossibilities. From one utopia to another. I think art and society are on the verge of a more radical transformation, for which it has no name yet, a transformation we cannot fully appropriate right now.

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