Connie Norman: Heart, Brains and Courage, 2010, Terra cotta earthenware, 16” x 8.5” x 8.5”
Connie Norman: Invisible Strength, 2011, Earthenware, 17” x 7” x 7”
“I am currently using ceramics and mixed media. My work is characterized by a reflection of contemporary society with a subtle humor and a tendency to idealize. I make works that stand alone, as well as installations.
The ceramic figures of ‘Sisyphus Work’ are condemned to an inevitable and senseless action. The titles that I use are referring to an existentialism in which an absurd figure plays the main role, extending far beyond the limits of vanity. They perform actions, although they realize that life is without meaning, but they stubbornly refuse to take the escape routes of death or faith. Spraying grass green, air exchange systems which are much too small to have any effect, machines that suck volatile odors, trying with mental control to move a vehicle. Again, and again, and again. Acceptance of the fundamental emptiness is the only thing that’s left.
The “Human Hybrids” installation is about the possible consequences of genome manipulation and malleable man. Genetic engineering, also called genetic modification, is the direct human manipulation of an organism’s genome using modern DNA technology. In examining the effect of specific genes, scientists have already made a fish that glows under UV light, pork with spinach genes, goats which produce spider’s web and there is also a Genmouse with super muscles that is protected against obesity.” Els Wenselaers
Els Wenselaers: The Windbreaker, 2010, 28 x 67 x 18 cm, Ceramics
Els Wenselaers: The Mausoleum, 2008, 16 x 34 x 50 cm, Ceramics, used materials
Els Wenselaers: The sleepwalker, alternative view
Els Wenselaers: Human Hybrid with Racemouse, 2009, 25 x 80 x 30 cm, Ceramics, white glaze, slibs, leather, rubber, metal
Els Wenselaers: The Brain Controller, 2009, 25 x 29 x 16 cm, Ceramics, used materials
Els Wenselaers: Air mixer, detail
“Every day we are surrounded by objects of different character. Objects we either know from before or new things we’ve never seen. Created by nature or shaped by human hands. We distinguish between the known and unknown, and make new discoveries. What is known from before we often find in our home environment and community, and the more unknown objects we find when traveling or in new surroundings. I approach the objects in the exposition with different artistic strategies, and a transformation process that examines functional, sculptural and cultural issues.
In the selection of an object to work with, I look for what exudes a certain history and experience. By my hand, the objects are then transformed into new stories, and re-created objects. The original objects emerge as raw materials, in which their parts are recreated into wholes, with a desire to capture the time between past and present. The intention is to add something new and different to an object’s inherent character. Together these objects link together as small elements in a storytelling collection, and reveal a hidden story.” Kjersti Lunde
Kjersti Lunde: The Altered Object = New Manipulated Presence, 2008 - Installation, porcelain and stoneware (Photo: Bjarte Bjørkum, Khib)
Kjersti Lunde: Kjuke / Mushroom, 2011 - porcelain (Photo: Klara Sofie Ludvigsen)