Rafa Pérez: Untitled #54
Although her work has been devoted to drawing, she first encountered the medium of ceramic in 2007. Ceramic has ever since given the artist an opportunity to explore new possibilities of representation. It has provided a means to re-examine and reassess the artist’s ongoing concerns on the role and nature of the work of art as an artefact.
Cathy Coëz’s three-dimensional ’Clay drawings’ and ’Porcelain drawings’ explore the compositional element of aesthetic and the nature of the ceramic medium. These drawings are organized geometrically (a circle, a disk or a square), and are made out of hundreds of pieces carefully arranged. The clay and porcelain material is tirelessly thrown on a ceramic wheel to form hundreds of unique pieces that are created to form a species of its kind. The substance of the clay, together with the inexhaustible possibility of forms and shapes it offers, has fascinated the artist ever since she started to explore the medium in 2007.
The creative process of these museums-sized pieces are initially conceived through a computer Vector Drawing Program, then each piece is methodically arranged and placed next to each other with painstaking precision. The end result is a response to an ongoing research into the nature of minimalist aesthetic and the sophisticated character of macrocosm and microcosm blend.
“In my previous silkscreen drawings, I used to work with a vast selection of colours. With my ceramic work, I am interested in the monochromatic and minimalist approach to colour, tones and shades. I focus instead on the individuality and uniqueness of each piece. For me, throwing clay is like drawing a shape. I start the process by establishing a form, then gradually organise its volume, rearrange its proportions and finalise its character. The shapes and forms I create seem to organically emerge from between my fingers.” Cathy Coëz
Cathy Coëz is a French Multi-disciplinary artist. She lives and works in Brussels, Belgium. Her artwork has been internationally exhibited in galleries and museums and is part of public and private collections.
“I work with abstract sculptural form. I am interested in the idea of one continuous surface, with one connected edge or line running through the whole form. Clear, clean shapes; soft smooth curves in contrast to sharp edges; concave and convex surfaces; the discovery and strength of an inner/negative space - these are all form expressions that appeal to me and results in my continuous exploration and expression in many different variations.
My sculptures are either asymmetrical or with a repetition of form:
- Asymmetrical where I mainly work with the idea of continuous surface. The form has only one side and one edge connected throughout the shape.
- Repetition of form with three symmetrical parts that are connected; three being both a strong number and a balanced repetition of form. The negative space - the shape of the space in between, is equally important.
My work is hand built in coiling technique. Stoneware is my chosen material for its qualities - I like to challenge the material and my own skills by building complicated shapes; fragile in the building, drying and firing process which upon firing attain the strength to be handled and positioned without support.
I often get an idea for a new form while working on another. I also find my inspiration in form I see in nature as well as architecture and design; clean curves, sparse decoration, simplicity. To emphasize the form I use a matt surface and monochrome colours.
I was born in Denmark but grew up in Sweden. I returned to Denmark to study at Design School Kolding in 2000, and moved to London in 2005 after graduating. I have since then predominately worked with sculptural forms.” Merete Rasmussen
Merete Rasmussen: Yellow wall loop
“I have a strong interest in natural forms, cultural artifacts and personal mementos. I am drawn to ornament, embellishment, pattern, and texture. For the last ten years the vessel forms in my ceramic work have slowly been evolving into botanically inspired hybrid sculptural forms. In working on these pieces I have become more involved with the details, the close ups, the abstract, the peering into. My interest in detail, layers and encrustations has been heightened by repeated travels to India and China. I am fascinated by the complexity, diversity, beauty and danger of the natural world and this leads to thoughts about growth, nourishment, attraction, and sexuality. Built into these hybrids are some of the artifacts and mementos that form my DNA.” Carol Gouthro
“The flowers of the woodlands and gardens of my upstate New York home are the subjects of my work. The intricate beauty in nature compels me to employ a complex process to translate this to the surface of my pots. I choose to use porcelain because it is the most pure of clays and when left unglazed and polished , an enticingly smooth rich surface is revealed. I began carving my porcelain forms during graduate studies at Skidmore College with Leslie Ferst and Regis Brodie. I continued my exploration of floral forms and structures by pursuing postgraduate study in botanical illustration at The New York Botanical Gardens. I create the bas-relief botanical images by carving into the leather hard wheel thrown porcelain pot. It is a process that can take more than one hundred hours. Each piece is hand polished after the first firing, the bisque, and again after the final high temperature firing to achieve the smooth marble like sheen.
My pots are my response to the natural world and my wish for its preservation. I strive to record the resiliency of nature in the bas-relief botanical images. I attempt also to capture the delicacy and fragility of the blossoms that will ironically be outlived by my pots
As objects of contemplation, it is my hope that my pots will celebrate the beauty and strength of nature and encourage its preservation.” JoAnn Axford
In addition to teaching at both the college and community arts levels, JoAnn has exhibited extensively in juried exhibits throughout the United States, including The Strictly Functional Pottery National, Crafts National, and San Angelo National Ceramic Competition. She was recognized as an Emerging Artist by Ceramics Monthly magazine in 2006. Her work has been published In Clay Times Magazine, Surface Design for Ceramics by Maureen Mills, Lark Books, and 500 Raku by Lark Books.
JoAnn Axford: Dogwood and Chickadee
JoAnn Axford: Dandelion covered jar
“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.
Carole Epp: The bewildered audience detail
Carole Epp: The bewildered audience
Carole Epp: Cheap shots detail
Carole Epp: Sometimes she wanted to tune it out as much as anyone else detail
Carole Epp: Sometimes she wanted to tune it out as much as anyone else