© the artists. (source)
Betül Demir Karakaya & Gökçe Özer: 1+1 / Terakki Foundation Art Gallery, Istanbul
January 9 - February 8, 2014
"Suddenly a voice is heard from 1+1…
One is quiet, whereas two is loud. 1+1 represents something more than a simple mathematical equation and the solution to this equation “2” is more than a number. It is an option against singularity.
The ceramic work of Betül Demir Karakaya and Gökçe Özer show us how different ones can add up to “2”. Özer’s ceramic sculptures portraying small heads on twirling bodies with hearts that have turned into black buttons carry the signs of a quiet but threatening power, while sculptures with open mouths, made using the same technique, create a place to hide from this threat. Whereas Demir’s ceramic bells give the signals of giving up an artist’s competence. With the game,she has extended an invitation to the audience by presenting a way to speak with them. Soil, that has been the common heritage of human kind, accumulates with a voice from two different languages in two female artists’ hands.
Ceramic works of Özer and Demir that have chosen two’s dynamism, instead of the competence of one -that isolates, makes blind and fattens- and two’s dialogue, instead of one’s monologue, will meet its audience at Terakki Art.” Words by Hazal Aksoy
Betül Demir Karakaya was born in 1978 in Izmir-Turkey, and started art education at Stragonov Moscow State University of Industrial and Applied Arts in 1998. Graduated from Hacettepe University Fine Arts Faculty Ceramics Department in 2002. In 2010 she has concluded her MFA at Anadolu University Institute of Fine Arts with the theme “Ceramic Bells Throughout History”. She is writing her PhD thesis at the same institute. She has many art pieces at private and public collections, including MIC Faenza International Ceramic Museum. She works at Karatekin University Fine Arts Faculty Ceramics Department as a lecturer.
Gökçe Özer was born in 1984 in Afyon. In 2002, she graduated from Ankara Anatolian High School of Fine Arts, Department of Painting, and in 2010 she graduated from Anadolu University Faculty of Fine Arts Ceramics Department. She studied as an exchange student between 2009-2010 at Universitat zu Köln. Presently she is working as a research assistant at Anadolu University Faculty of Fine Arts ceramic department and studied MA at the Institute of Fine Arts on ‘Influence of Wabi-sabi Aesthetic on Japanese Ceramic Art’. Currently she is a PhD candidate at Anadolu University Institute of Fine Arts.
Jos Devriendt: Day & Night / Pierre Marie Giraud, Bruxelles
January 17 - February 1, 2014
"Since 20 years I have been working on the archetype of the mushroom. It has been a search for a form that could be a sculpture with two different lives. A mushroom during daytime with an obvious and colourful expression capturing the light, and at night an abstract form giving light.
As a sculptor I want to reshape the form from day to night, solely with light: the daylight, which shines upon the sculpture and the artificial light, which comes from within and erases the material form. After researching the form, I experimented with different colours as a means to alter the meaning of the form. Like abstract painters use colours to give a meaning to their work, I do in a three dimensional way.
Artists have been expressing feelings through the sea, nudes or geometric forms.
Why not use mushrooms?
They have a lot of meaning in life.
Basically you can eat them and may be poisoned.
There is the hallucinating effect of some of the exotic species.
The sexual connotation of the mushroom is in many cultures an important element of mythology.
In essence, mushrooms bring me to the big themes of art: life, love and death, and last but not least to humour.”
By Degrees ceramics exhibition / L5-23 Unit Gallery, Jockey Club Creative Arts Centre, Hong Kong
January 11-26, 2014
Ceramics has come a long way since its’ humble beginnings as crude decorations and simple pottery wares thousands of years ago. It has evolved to become an important medium within the world of the Fine and Decorative Arts whereby its’ previous boundaries are constantly being pushed and our perceptions challenged.
In learning how to make ceramics there are no short cuts however and the techniques and skills still have to be mastered step by step, and by degrees. This exhibition brings together the six students of The Hong Kong Art School after completing the first year of their BA in Fine Art (Ceramics). Using hand building techniques and wheel thrown work they endeavor to explore various different themes within Contemporary Ceramics some of which include minimalism, eternity and social issues. This is their inaugural exhibition together.
Ryan Cheng, Weight Never Sleeps, 2013, Stoneware (Black Mountain - partly glazed), 16x9x30 cm.
Clay is a very natural and organic medium to work with. It lends itself well to manipulation on a human scale. It requires no specialized tools or incredible strength and is a pleasure to work with using just your bare hands. In my work I enjoy exploring the strengths and limits of the clay, and I try to use this ancient material to create objects in context with modernity.
Renita Cheung, Live as One, 2013, Unglazed Porcelain, Stoneware mixed with Oxides, 36x36x60 cm.
Diversity is a natural phenomenon in nature and gives the world variety and beauty. Such a beauty also exists in mankind as we have different characteristics such as color and culture. But for us to live together peacefully without discrimination, war and terrorism requires awareness from all the human races to appreciate and accept differences.
In the work ‘Live as One’, I invite tenants of the earth to appreciate and respect differences between human races in order to sustain peace. Mountains of different characteristics are used to represent people from different culture as well as their hardiness to be moved. But all dreams start with imagination. I hope someday you will join the line.
Janice Ng, Infinity, 2013, Porcelain and Stoneware (unglazed), Size variable.
I am inspired by ceramic artists such as Eva Hild and Walter Dam and became interested in the flow and movement of forms. With the combination of extrusion technique, I build some angular tubs, and the development starts from free standing distorted tubes to additional force and movements.
The extrusion resembles the birth of living beings, the clay being used would be the origin while the twist and pressure added afterward would symbolize the experiences and crisis the piece had gone through along the growth. Twisted movement is applied since the DNA link of living being in spiral form, it gives signs of the power of life.
Graciela Olio Ceramics: Proyecto Sur, Serie Home (Project South, Home Series), 2011, Porcelain sheet (Keraflex) print with laser decal on raw sheet before handbuilding, all 30x20x0,8 cm.
Graciela Olio Ceramics: Proyecto Sur, Serie Home (Project South, Home Series), 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 15x10x12 cm. Photo by Hernán Cédola.
Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2011, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, both 15x10x12 cm.
Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2011, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 15x15x15 cm.
Red Lodge Clay Center Long Term Residency / Red Lodge, Montana, USA
Application Deadline: February 1st, 2014
The Long-Term Residency (September 1 - July 31) is ideal for committed individuals in transition from post baccalaureate studies to graduate school, as well as those pursuing the development of professional artistic careers. Self-directed ceramic artists searching for the time, space and resources needed to explore new ideas and create new work will enjoy the rural mountainous setting. Accepted residents will be provided with studio space, housing, utilities, and a monthly stipend in exchange for twenty hours of work per week at the Clay Center. Responsibilities will include assisting in the retail operation of the gallery, teaching community clay classes, as well as cleaning and maintenance of the studio and gallery. Residents will be responsible for personal living expenses, as well as all material and firing expenses.
Application Fee: $40
The Red Lodge Clay Center welcomes applications from ceramic artists who will thrive working as a team, in a community minded atmosphere. The ceramics studio is located approximately six miles north of Red Lodge, 463 Two Mile Bridge Road. A form of transportation is necessary for the duration of the residency. Resident artists have 24-hour access to the ceramics studio. For more detailed information on material needs and studio equipment please contact the Red Lodge Clay Center.
Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 15x15x15 cm. Photo by Hernán Cédola.
Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series, 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 10x10x12 cm. Photo by Hernán Cédola.
Graciela Olio: Proyecto Sur, Serie Home (Project South, Home Series), 2010, Porcelain sheet (Keraflex) print with photoceramic (gum bichromate process), Printing directly on raw sheet before handbuilding, 10x10x12 cm. Photo by Hernán Cédola.