“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
Marie T. Hermann: Liminal #4, Stoneware, 2011. 23 x 25 x 28 cm.
Marie T. Hermann: Liminal #1, Stoneware and thread, 2011. 18 x 14 x 7 in.
Marie T. Hermann: Shades of days #B, 2011. Ceramic and thread. 18 x 12 x 7 in.
Marie T. Hermann: Shades of days, 2011. Ceramic and thread. 18 x 6 x 7 in.
“I work process-oriented with the examination of form, which in its presence appears in organic shapes and in rhythmic lines in motion. The starting point was the idea of a flower as a radiant energy and elegance both remarkable and luxuriant, a testament to the existence of everyday miracles. The creation of an aesthetic, sensuous, material object has always been the essence of my work, but the objects have since 2002 become more abstract. At the moment I am asking myself: Is it possible by combining or colliding senses to reach a more complex form? That is my ambition.
All my works are hand-built. To achieve a sense of elegance and fragility the shapes are made thin in comparison to their size. Furthermore I have put a lot of effort into achieving a harmonic surface and a defined access of lines to intensify the character of each object.
The surfaces maintain a texture which reflects the depth and sensuous presence of forms found in nature. Together these accentuate the overall tactile quality of the works.” Signe Schjøth
Born in Copenhagen in 1974, Signe Schjøth was trained at the Ceramic School of Bornholm (1999 – 2002) and since then she has been selected for several international exhibitions.