Sarah Purvey

Sarah Purvey gained both her BA and MA qualifications at Bath Spa some twenty years apart receiving her MA in ceramics in 2009.

Sarah’s ceramic Landscape Series have been exhibited nationally and internationally including private collections in Tokyo and New York. Her ceramic work also forms part of the Bath Spa University collection at Corsham Court.

Sarah Purvey Ceramics, Landscape Series

– Landscape Series, 2010-2014

Eszter Imre

Eszter Imre was born in 1985 in Hungary. Growing up in a historical town in the heart of Hungary she discovered her great interest towards the arts and crafts and started her artistic education at the age of 14.

Getting to know ceramics during the high school years had significant influence on Eszter and she have been working with clay ever since. She earned her Master in fine arts (2010) and an MFA degree in design (2014) from the School of Design and Crafts (HDK, University of Gothenburg), Sweden.

FEATURED WORK

Eszter Imre Ceramics, Must-produced

– Must-produced, 2012

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.

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Bertozzi & Casoni: Regeneration / All Visual Arts, London

Bertozzi Casoni Regeneration exhibition, All Visual Arts, London

Bertozzi & Casoni: Regeneration / All Visual Arts, London
October 13 - November 10, 2012

Private view: October 12, 7-9 pm.

All Visual Arts are proud to present Regeneration, a unique installation from Italian artists Bertozzi & Casoni. The artists are acclaimed for their delicate depictions of a culture in decay, deftly rendered in fragile ceramic clay. Their latest work Regeneration queries the hierarchy of aesthetics, revealing the beauty in the neglected and discarded ephemera of our seamless culture. The pieces compel the viewer to confront the visceral decay of contemporary society, to expose the cracks between the artifice of the world we are presented with and to explore what lies within these fissures. With this imaginative approach to their practice, Bertozzi and Casoni align the traditional with the experimental, and allow us to construct our own narrative around their evocative scenes.

Bertozzi and Casoni manipulate the indistinction between the real and the simulacrum in their work, an obsession for detail which evokes the Decadent taste for imitation and crafted artifice as superior to the natural. In fabricating these visually and emotionally compelling still-lifes, the artists engage the viewer in deeper themes of impermanence and mortality. Through rendering the abject and overlooked in such exquisite detail, Bertozzi and Casoni signal the return of the repressed, the avoidance of our own mortality. In one piece in which the memento mori is explicitly rendered, an ox skull is dominated by a vivid monitor lizard, symbolic of both death and rebirth in its habitat across Asia and Australia. In the antonymously titled DisGRACE, vibrant blooms sprout from the polluted detritus of a decadent and avaricious society, a scene of nature triumphing over the excesses of hyper-capitalism.

Regeneration contemplates the possibility of change through rebirth, rediscovery and reappropriation, manipulating earth into elegant and fragile structures. In one piece, a cluster of butterflies flock to raise the severed head of a deer from an ornamental platter, recalling the Renaissance representations of John the Baptist or Holofernes. In a similar echo of classical scenes, and dominating the Regeneration is the serene image of a silverback gorilla resting in the Buddhist lotus position on a bed of discarded mattresses. A roe deer lies prone across its body, while wrens and goldcrests commune around the pair. The piece is an evocation of symbolic power, from the visceral confrontation of our Darwinian descendent dying out in front of our eyes, to the shift between the viewer and sculpture, object and subject as we find ourselves caught in the compassionate gaze of the animals. Our own mortality is inscribed in the tableaux where urban structures, religion and the animal world collide to reveal the grace in disgrace which Bertozzi and Casoni seek to capture.

It seems appropriate that the duo push their material to its limits and question the possibility of representation in their work at every turn. Their liberal accumulation and compilation of cultural references is evident in the playful amalgamation of objects in a work where a swordfish’s head juts from a guitar case; the shapes tessellating the natural with the cultural. Their curiosity and playful approach to objects creates a process of continual experimentation and discovery, freeing themselves from convention and the stereotypes of the ornamental and domestic associated with the ceramic medium, and producing unexpected moments of pathos and humour through their synthesis of past and present, nature and artifice. The artists subvert the established rules about the perception of applied arts through inverting the symbolic power of their traditional medium, exceeding the inherent conservativism of ceramics to sculpt fantastic and grotesque scenes that liberate both the artist and viewer’s imagination.

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Contemporary Clay Invitational / j fergeson gallery, Farmville, VA

Contemporaryc eramics exhibition - Contemporary Clay Invitational exhibition j fergeson gallery, Farmville

Contemporary Clay Invitational / j fergeson gallery, Farmville, VA
October 5 - December 15, 2012

Opening Reception: Saturday, October 13, 5:00 pm.

The latest show at the j fergeson gallery in Farmville, VA, explores the diverse possibilities of what can be done with clay. This show, the gallery’s largest of the year, features works from 30 national artists. Here one will find both sculptural and functional pieces, but perhaps most interesting is the way the artists have settled somewhere in between.

The show is an extraordinary collection of ceramic work by artists working at the top of their field. Co-curators Andréa Keys Connell, lead professor in clay at Virginia Commonwealth University, and Adam Paulek, lead professor in clay at Longwood University, chose the artists for their commitment to fine craft, progressive thought, sensitivity to material and humor.

Artist A. Blair Clemo, inspired by the ornate history of European Decorative Arts, creates vessels that are functional, but also ridiculously opulent, as if ready to serve royalty. John Oliver Lewis presents two sculptures inspired equally by architecture, natural land formations, cartoons, and candy - think Monument Valley out of salt water taffy. And then there’s Darrin Ekern’s “potasaurus”: a sculpture of a T-Rex in a studio throwing a pot.

Featured artists:
A. Blair Clemo, Kurt Anderson, Tom Bartel, Jason Hackett, Hiroe Hanazono, Mike Jabbur, Bethany Krull, John Oliver Lewis, Richard Nickel, Nathan Prouty, Debbie Quick, Dave Smith, Mikey Walsh, Trent Berning, Kelly Berning, Jeff Campana, Sam Chung, David Eichelberger, Darrin Ekern, Misty Gamble, Meredith Host Kowalski, Nicole Aquillano, Frank Martin, Dan Molyneux, Chris Picket, Adrian Sandstrom, Amy Santafararo, Shawn Spangler, Kendra Sparks, Adero Willard.

This variety of work isn’t often seen in small galleries, and the curators are excited to present it to an audience that may be unfamiliar with just how adventurous contemporary clay has become.

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Open call for submissions

We’re opening submissions for all contemporary ceramic artists. If you submit your work to Ceramics Now, you could be featured on our website (as a featured artist), and in print, beginning Issue nr. 2 (March 2012). Contact us.

Ceramics Now Magazine is a contemporary ceramic art magazine published in Romania. We feature exclusive interviews with world-renowned ceramic artists, high quality images with their works and news from the ceramic field. The first printed issue of Ceramics Now will be published next month (Winter 2011-2012), and will contain more than 40 interviews with ceramic artists.

We think it’s an amazing opportunity for artists to be featured and to be promoted in Ceramics Now. We have a strong presence online and we are trying hard to enter the top contemporary ceramics magazines in the world.

Read more about us and about Issue nr. 1.

Subscribe to our monthly newsletter and like our Facebook page if you want to stay in touch with us.

Making or unmaking? The Contexts of Contemporary Ceramics - Conference in Bergen, Norway

Making or unmaking? The Contexts of Contemporary Ceramics, Conference in Bergen, Norway

The Contexts of Contemporary Ceramics - Conference
27th - 29th of October 2011

The opposition between studio and industrial ceramics that has had such a central place in the self-understanding of studio ceramists, no longer seems meaningful. A shift from production to reproduction has taken place. Images and patterns from different sources are appropriated and manipulated. Mass-produced objects, often characterized by disuse, disruption and damage, have come to be increasingly used as raw materials. The relationship between artist and artisan has also changed. The conference focuses on the way in which these changes influence contemporary making, and how they contribute to the unmaking of conventional understanding of ceramics and craft practices in general.

SPEAKERS
Glenn Adamson, Barnaby Barford, Marek Cecula, Nicole Cherubini, Mònica Gaspar, Tanya Harrod, Ben Highmore, Gitte Jungersen, Søren Kjørup,Carol McNicoll, Kevin Murrey, Andrew Livingstone, Michael Petry, Mike Press, Paul Scott, Ezra Shales, Richard Slee, Caroline Slotte, Linda Sormin, Hans Stofer, Clare Twomey, Jorunn Veiteberg and Anne Britt Ylvisåker.

EXHIBITIONS
West Norway Museum of Decorative Art: Thing Tang Trash. Upcycling in Contemporary Ceramics (curator: Heidi Bjørgan); Galleri Rom 8: Kjell Rylander; Hordaland Art Centre: Shot: Textiles and Photography (curator: Glenn Adamson); Galleri Format: The Red Room (curator: Heidi Bjørgan); Galleri Fisk; S12: Young and Loving.

LOCATION
Terminus Hall, Hotel Grand Terminus, Bergen, Norway.

PROGRAM
Thursday Oct 27, 10.00-18.00
Workshop 1: History Lessons

Glenn Adamson (USA/UK): Ten easy pieces: Postmodernism and the found object
Carol McNicoll (UK): Domestic collage
Richard Slee (UK): The way he is sourcing things
Ezra Shales (USA): The museum as medium-specific muse
Clare Twomey: Manufactured not made
Caroline Slotte (FI): Long exposure
Paul Scott (UK): Willows, windmills and wild roses. Recycling and remediation
Tanya Harrod (UK): Memory work: Craft and art in post-industrial Europe

Exhibitions: Thing Tang Trash. Upcycling in Contemporary Ceramics, Art Museums Bergen/Permanenten (19-21)

Friday Oct 28, 9-17
Workshop 2: Object Lessons

Ben Highmore (UK): The poetics of made things
Hans Stofer (CH/UK): ’Biting into a cherry does not prepare you for the stone’
Mònica Gaspar (ES/CH): Craft in its gaseous state: An exhibition report
Andrew Livingstone: The ceramic regurgitant: sustainability and the readymade
Barnaby Barford (UK): Appropriation, narrative and humour
Gitte Jungersen (DK): Place to be lost, materiality and meaning in my work
Jorunn Veiteberg (NO): The Duchamp effect in ceramics

Exhibition openings: Kjell Rylander Rom 8; B.T.2011, Galleri Format (curator: Heidi Bjørgan); Textiles and Photography, Hordaland Art Center (curator: Glenn Adamson); Young and Loving, Gallery S12.

Saturday, Oct 29
Workshop 3: Institutional Lessons

Michael Petry (UK): The art of not making: The new artist/artisan relationship
Marek Cecula (PL): Industrial interventions
Anne Britt Ylvisåker (NO): The museum: New potentials
Linda Sormin (CA/USA): Chinese Take-out
Kevin Murrey (AU): The new do-it-themselves ceramics: throwing out the baby with the mud?
Mike Press (UK): Handmade knowledge. The new challenge for craft.
Søren Kjørup (DK): A philosophical perspective: A new history, a new order.

19.00 Dinner, Grand selskapslokaler.

Reservations

The research conference is organized by K-verdi (www.k-verdi.no) at Bergen National Academy of the Arts, in collaboration with Art Museums of Bergen. Supported by the Norwegian Research Council, Bergen National Academy of the Arts, Bergen kommune, Hordaland Fylkeskommune and Norske Kunsthåndverkere.

Overthrown: Clay Without Limits, on view until September 18

The Overthrown: Clay Without Limits exhibition at the Denver Art Museum is on view until September 18, 2011.

"The scale of the space has pushed all the artists to think big, both physically and conceptually. The exhibition, technically demonstrates the inventive use of such an ancient material, while raising contemporary issues. The works in the exhibition challenge traditional notions of “objectness”, providing a depth of content, and creating a diverse dialogue." Katie Caron

Location: Anschutz Gallery, Level Two, Hamilton Building / Denver Art Museum

→ View images from the exhibition (in High Quality) - /Overthrown
→ Read interviews we’ve made with some of the exhibiting artists -  /Overthrown_Interviews

Interview with Gwen F. Chanzit - The curator of the exhibition.
Interview with Katie Caron and Martha Russo
Interview with John Roloff
Interview with Clare Twomey
Interview with Paul Sacaridiz
Interview with Linda Sormin
Interview with Del Harrow
Interview with Mia Mulvey
Interview with Benjamin DeMott

* The Overthrown: Clay Without Limits exhibition will have an extended feature in the first printed issue of Ceramics Now Magazine (November 2011).

Overthrown: Martha Russo and Katie Caron, Apoptosis (detail), 2010–11.  Porcelain, paper clay, glaze materials, colored pigments, assorted   tools, steel and hardware, silicone, LED Lights, compact fluorescents,   electrical cables, wires and conductors, utility poles, abaca paper,   beeswax. #2

Overthrown: Martha Russo and Katie Caron, Apoptosis (detail), 2010–11. Porcelain, paper clay, glaze materials, colored pigments, assorted tools, steel and hardware, silicone, LED Lights, compact fluorescents, electrical cables, wires and conductors, utility poles, abaca paper, beeswax. #2

Like Ceramics Now Magazine on Facebook

Our Facebook (and Twitter) fans already have access to the June-July 2011 edition of our monthly newsletter. Like us on Facebook / Twitter or wait until tomorrow, when we will make the interviews available for our visitors!

The newsletter features interviews with ceramic artists Roxanne Jackson as Artist of the month, Liza Riddle as Recognized artist, Jim Kraft - Ceramic Technique, Chang Hyun Bang as New artist, plus The Young Artists’ Collective for our Tumblr Community interviews.

Also, you’ll get to read a preview of the interview with Gwen F. Chanzit, Curator of Overthrown: Clay Without Limits exhibition at the Denver Art Museum.

The special feature for The Denver Art Museum will cover more interviews with artists exhibiting at the Overthrown exhibition, which is on view June 11 through September 18, 2011. Subscribe here and wait until July for the special edition of our newsletter.

The June/July edition of our newsletter is almost done

The June/July edition of our monthly newsletter is almost done! This edition will feature interviews with Roxanne Jackson as Artist of the month, Liza Riddle as Recognized Artist, Jim Kraft - Ceramic Technique, plus the New Artist (in each edition we’re proposing a new ceramic artist).

You’ll also receive a preview of the next month special newsletter featuring The Denver Art Museum's Overthrown: Clay Without Limits exhibition, which includes an interview with the curator Gwen F. Chanzit.

Plus this edition’s Tumblr Community feature: The Young Artists’ Collective.

Subscribe here. It’s free!

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Newsletters archive: Nr. 1, April 2011 // Nr. 2, May 2011

Debbie Quick

Debbie Quick's profile on Ceramics Now Magazine - View her works

“I am a storyteller. Or at least I’ve wanted to be one for as long as I can remember; yet, the verbal telling of situations is not how my mind works. Instead, I physically construct my stories which speak of emotional interactions and reactions experienced during intense social exchanges. Just as social interactions are layered, having a number of interpretations, visual information leads to a multitude of possible understandings as well.  This is why the idiom “A picture is worth a thousand words” describes how I choose to create narratives. Having more than one interpretation of an experience is why I desire to pack multilayered thoughts into every thing I make. Through exploring these concerns I attempt to communicate the numerous nuances of emotion weathered during awkward social exchanges.

I watch. I love to watch. I draw inspiration from the watching. I collect awkward exchanges between people and then sculpt them into stories. My narratives visually speak of uncomfortable social interactions and the intensity of feeling born out of them. The pieces I build depict the slippery quality of emotional intelligence and how it seems to elude explanation. Since there is often more than one side to a story and no singular truth to a situation, my pieces are stuck at the point of experiencing and contemplating uncomfortable and irresolvable situations. I explore the pain and discomfort of social interactions through the visual narratives I make.” Debbie Quick

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Grayson Perry

Grayson Perry's profile on Ceramics Now Magazine - View his works

Grayson Perry (born in 1960) is an English artist, known mainly for his ceramic vases and cross-dressing. He works in several media. Perry’s vases have classical forms and are decorated in bright colours, depicting subjects at odds with their attractive appearance, e.g. child abuse and sado-masochism. There is a strong autobiographical element in his work, in which images of Perry as “Claire”, his female alter-ego, often appear. He was awarded the Turner Prize in 2003 for his ceramics, receiving the prize dressed as Claire.

Perry’s work refers to several ceramic traditions, including Greek pottery and folk art. He has said, “I like the whole iconography of pottery. It hasn’t got any big pretensions to being great public works of art, and no matter how brash a statement I make, on a pot it will always have certain humility… For me the shape has to be classical invisible: then you’ve got a base that people can understand”. His vessels are made by coiling, a traditional method. Most have a complex surface employing many techniques, including “glazing, incision, embossing, and the use of photographic transfers”, which requires several firings. To some he adds sprigs, little relief sculptures stuck to the surface. The high degree of skill required by his ceramics and their complexity distances them from craft pottery. It has been said that these methods are not used for decorative effect but to give meaning. Perry challenges the idea, implicit in the craft tradition, that pottery is merely decorative or utilitarian and cannot express ideas.

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