Els Wenselaers: Mrs Odeur, 2009, 16 x 33 x 24cm, Ceramics, metal, rubber, glass
Kjersti Lunde: Triplets, 2008 - Found object, porcelain and glass (Photo: Tor Lie)
Kjersti Lunde: Polarbear, 2010 - found object, porcelain and glass (Photo: Tor Lie)
Baldwin / Guggisberg, Beyond Glass Exhibition - Ariana Museum, Geneva
13 October 2011 - 25 March 2012
The internationally-renowned master glassmakers, Philip Baldwin and Monica Guggisberg have the techniques of glass to develop a fascinating aesthetic of forms and colors sublimated by a mastered articulation of light. The Musee Ariana is devoting a major exhibition to this artistic duo that explires their recent as well as earlier work in order to acknowledge a highly personal poetic universe combining two visions of an inner world.
20th Century Venetian Glass - a private Genevan collection
13 October 2011 - 8 April 2012
This Genevan collection brings together an ensemble of vases, bowls and dishes from the 1920s to the 1990s that illustrated the diversity and the quality of the Venetian glassmaking industry in the 20th century. The majority of the models presented were produces in their hundreds by the Murano glassblowers for companies such as Venini, Cappelin, Barovier, Martinuzzi, Seguso and Barbini. This multiplicity should not disguise the fact that all these pieces are unique.
And a gift from the Friends of the Musée Ariana:
an 18th century Nymphenburg porcelain rocaille pot-pouri vase
Musée Ariana - Musée suisse de la céramique et du verre
Avenue de la Paix 10
CH-1202 Geneva, Switzerland
Tel. +41(0)22 418 54 50
Fax. +41(0)22 418 54 51
Interview with Kawabata Kentaro - Japanese ceramic artist represented by Keiko Gallery, October 2011
→ This interview is featured in Ceramics Now Magazine - Issue One, Winter 2011-2012.
Ceramics Now Magazine: You were among the first contemporary Japanese artists to combine ceramics and glass when constructing a new work. How did you start to connect these materials?
Kawabata Kentaro: I wanted to to extract the ingredients from the glaze and embed them into the clay. For example, I tried to use fragments of smashed glass bottles, feldspar, silica stone and beachsand in my white porcelain works, and I did that by mixing these fragments with the glaze. I also wanted to observe the chemical reactions between those materials and the clear glaze after the firing. Throughout these experiences, I was fascinated about the harmony of the different kinds of translucency between glass and white porcelain. I also love touching the unfired clay with bits of glass inserted into it, and I want to get the similar feeling after the firing. I want to constantly develop my work, so I am still looking for new glazes and new kinds of glass as well as interesting materials which go well with my style of work.
Batista, 2011, Glazed clay, glass, silver, 26” x 18” x 12 1/2”. Photo by Taku Saiki - View his works
What is your present project and how do you make the pieces? Tell us more about the process.
Now I am trying to construct a few sculptures using slip casting. After making several different kinds of plaster casts, I connect them. I use my original technique in my newest works, which consists in applying small clay balls and sand on the surface.
Amanda Simmons makes kiln formed and cameo engraved glass vessels - tall, sculptural, thin walled columns - from her studio in Corsock. She is fascinated in the forms created by gravity within the kiln, the vessels becoming more complex as she perfects the slumping method. She has worked with glass for the past 9 years, studying at Central St Martin’s School of Art & Design in London, before re-locating to Dumfries & Galloway in 2005.
She combines these techniques with her interest in making marks in glass with diamond point engraving and a diamond wheel lathe. Her work involves many processes of firing, coldworking (working with diamond tools to shape and smooth) and sandblasting. She recently exhibited at the Crafts Council show for contemporary applied arts, COLLECT with Craftscotland and has since become a member of Contemporary Applied Arts in London. A winner of the Gold Award for Innovation, Creativity and potential to export at Origin 2010, she has just returned from a research trip to investigate the applied arts market on the East and West coast of USA funded by the Crafts Council and Uk Trade & Investment.
A keen supporter of the contemporary craft scene, she has just been selected to become the Creative Business Advisor (for Crafts) by Dumfries & Galloway Council, to stimulate, strengthen and support the creative industries sector across the region.
Carole Epp: Sometimes she wanted to tune it out as much as anyone else
Amanda Simmons: Summer blues
Amanda Simmons: Toxic tea party
Amanda Simmons: Turquoise vase
Amanda Simmons: Labyrinth of love #3
Amanda Simmons: Nested collective