Stephanie Marie Roos Germany
Daphne Corregan France
Angelika Lill-Pirrung Germany
Anima Roos Belgium
Sandy Lockwood Australia
Walter A. Heufelder Germany
Margarete Heymann-Loebenstein - Hanna Charag-Zuntz Israel
FORUM / EDUCATION / HISTORY
Laws of Change in Creativity Gustav Weiß Art Philosophy
EXHIBITIONS / EVENTS
Frechen Ceramics Award 2015 - Frechen Germany
"Welcome to Japan - Stefan Jakob San" - Sasama Japan
Kap-Sun Hwang and his students - Munich Germany / Korea
Ken Mihara - Heidelberg / Tokio Germany / Japan
CERAMIX - Maastricht Netherlands
"Stepping Up" - Ceramics Triennale - Canberra Australia
International CHAWAN Expo - Hemiksem Belgium
LUAL Project - Manila Philippines
Flora & Fauna - Big Horn, Wyoming USA
CERAMICS & TRAVEL
Travelling in India – Rajasthan India
BOOKS New Books
Ester Beck - Evelyne Schoenmann Interview / Developing Skills
DATES / Exhibitions / Galleries / Museums
Exhibition diary International
COURSES / SEMINARS / MARKETS International
PREVIEW / IMPRINT Information
Craft and art were a part of my life even as a child because my mother was an arts and crafts teacher, she worked in ceramics herself and was in touch with a ceramic artist in my home town. I was particularly fascinated by three-dimensionality and I made ceramic figures from an early age.
The pathway to what I do today led via studying to become an art teacher, a detour into being a commercial artist and the everyday working life of a teacher. Parallel to this, I attended life and portrait classes. Apart from attending courses in ceramics and concrete sculpture, I set up a metalworking shop for myself, tried out printing techniques in my studio and kept coming back to ceramics. However, with family and professional commitments, I was not working systematically in this time frame.
I have been working as a freelance artist since 2011, concentrating on sculptural work in clay.
I work on the figure
People often make a deep impression on me – their facial expression, the clothing that they have chosen, the way they move – almost materially palpable, sculpturally rememberable.
Although my figures are based on the real world in the way they are presented, I am not interested in a representation of reality. The figures embody the way I reflect reality, they are a kaleidoscope for observations and associations, compositions derived from themes of a personal or political nature.
When I started working in clay, one of the ceramists that interested me was Daphne Corregan. Her work was very different than what one saw at galleries, in books and magazines. Her shapes were unknown and new for me. Her forms fitted her surfaces very well. These were intriguing shapes with subtle, soft and earthy skins. The iron red, ochre yellow and metallic black of Alexandre Calder was on her pieces!
I read that she raku-fired her work. I was also doing raku, and very many ceramic makers shifted to raku at that time. Though the raku work of Daphne was not shiny glazed, or crackled.
They were mostly dark skinned matt, with some bands of dark iron reds, and yellow ochres blended in a soft metallic body. These pieces had both organic visual references as well as modern presence. There was a strength and monumentality to her work, yet one could detect a jug or a vessel form.
There were and are perforations on the forms, which connect inside and outside of the pieces, which also make the work seem lighter in spirit, less sober, and engravings of lines and decorative brush lines that somehow humanize her objects, reminding one of ritual body paintings from primitive cultures.
Indeed Daphne has travelled many times to Africa, and has been captivated by their decorative expressions. From her stay in China, she brought back with her the Song dynasty peony paintings on her work. Daphne is open and receptive to other cultures and knows how to create a new vocabulary out of these observations, and how to integrate it in her own work. Decorative techniques from elsewhere become contemporary expressions in her work. She admires the artistic vocabulary of Eduardo Chillida and Lucio Fontana.
I pot, it was a disaster, but still I thought it was a wonderful experience. The teacher laughed sceptically when I said that I would make pottery my profession, but the fascination kept on and I have been working with clay for more than 30 years now.
I started studying ceramics at the art academy in Ghent. Carmen Dionyse was teaching there. She was creating impressive ceramic sculptures. Though in that period Bernard Leach and Hamada had taken pottery back to "artistic interest", working on the potter’s wheel remained not done at an academy of "ARTS". So, to build up my throwing skills, I travelled to the south of France during the summer holidays. There, each village had its potter, and when it was possible I stayed there to be in training for a week. I travelled from village to village, from potter to potter. Practicing was the main issue.
Meanwhile, many years have passed and my career has taken its own particular way.
I started with my one shop. I did create usable ware. This demands great technical ability. The cups have to be similar, and practical to pile, the glaze must also be strong and smooth, without crackles… In fact, it has thus been the ideal training school to master the skill perfectly. After 6 years I thought it was time to use my technique to create one artistic language with more "abstract" form, but still referring to the initial pot form.
My relationship to clay is powerful, personal and seldom far from my daily being. Because it has been such a central part of my life over the last thirty five years, I have been driven to understand this phenomenon and where it comes from.
This introspective quest has produced some revelations and many questions. I am intensely engaged by weathered surfaces and objects. These may be human made or natural. They provide visual complexity that speaks to something deep within me. Working with the formidable expressive capacity of clay is my way of searching for understanding and it engages my whole being. Fortunately for me this material has the possibility for unimaginable expression and discovery.
I am using clay to help me make sense of myself and the world. Part of my journey has been to undertake doctorate research into the made world of Neolithic Britain.
Works then and now, widely separated by thousands of years and large distance, can evoke a strong and similar response in the viewer. It appears that this affective response has a role in connecting us here in the present with works of ancient makers. It also has the role in present time of connecting us to current works and makers as well as to the natural world.
|Frechen Ceramics Award 2015
The heap of shards is not automatically rubbish, but first and foremost it is an offer to re-sort it, just waiting for some adhesive. This is how Hermann Grüneberg, one of the three winners of the Frechen Ceramics Award, describes his artistic strategy. The child in his prizewinning piece, Child with Hare (2014) may be teetering on legs that are not really the same length, its fingers may be crooked, but nevertheless it is happily stretching to lift a small hare towards the sky. Assembled from ceramic elements and roughly hewn wood, wired together in makeshift fashion, the human archetypes in Grüneberg’s work may seem to be maimed, but they look optimistically and tenderly at each other and into the future. The answer as to what lies behind the fractures, the dysfunctional elements, the lost dreams, cannot be found in Grüneberg’s work alone. It is the leitmotif among many of the artists competing for the Frechen Ceramics Award 2015.
From a total of fifty applicants, the three preliminary judges – gallerist Jutta Idelmann, artist Doris Kaiser and collector Hannelore Seiffert – invited seventeen participants to present their work from September at the Keramion. The prize of the Frechener Kulturstiftung (Frechen Arts Foundation) for emerging artists has been awarded since 1972, this year for the seventeenth time; is intended for artists up to the age of 35 whose work is centred in Germany. There are three cash prizes each to the amount of EUR 1,500. The panel of judges, enlarged to include Susanne Bucksfeld from the Museum of Art in Ahlen and Dr Olaf Thormann, director of the GRASSI Museum in Leipzig, studied the broad spectrum of submitted work in great depth. Mixed materials, installations, printing and a video projection are now no longer exceptions in the competition, which was originally launched as a vessel prize. Nevertheless, the theme of the vessel continues to fascinate some artists, for instance Bomi Lee’s vases with their cut, overlapping edges, the mathematical grids of Kyungmin Lee’s cylinders, the distorted coffee pots by Danijela Pivaševic-Tenner, and the wild, colourfully assembled vases by Sarah Pschorn.
|"CERAMIX" - From Rodin to Schütte
The Bonnefantenmuseum in Maastricht, the Netherlands, situated on the Avenue de Céramique and built by Italian architect Aldo Rossi, celebrated its 20th anniversary at the weekend of 14 + 15 November 2015. The Bonnefantenmuseum is thus a relatively new museum, which presents mediaeval art from the Netherlands as well as 17th century painting and sculpture from the Netherlands, Germany and Italy on one level, with regularly changing exhibitions of contemporary art on the level above it.
What is currently likely to be the most interesting ceramics exhibition in Europe runs until 31 January. The two guest curators Camille Morineau and Lucia Pesapane spent five years working with the Bonnefantenmuseum, the Cité de la Céramique (Sèvres, F) and La Maison Rouge (Paris, F) preparing the exhibition, organising and compiling it.
CERAMIX displays more than 250 exhibits from international museums and private collections, including the Victoria & Albert Museum in London, the Museo Internazionale delle Ceramiche in Faenza, the Petit Palais in Paris, Marck Larock-Granoff, Isabelle Maeght, Alain Tarica and Luciano Benetton, with works bymore than 100 artists such as Matisse, Miro, Rodin, Picasso, Schütte and Ai Weiwei.
The exhibition focuses on the relationship between art and ceramics from the early 20th century to the present. The subject has certainly been seen with the experience and knowledge of the two curators and concentrates on work from Europe, but there is a representative selection of pieces from the USA and there is some work from Asia and South America, but fewer than from central and northern Europe.
LUAL (composite Filipino word: LUAD means clay and LUWAL means to give birth) asserts that by focusing and delving into the details of the firing process, the notion of art in ceramics can expand from the ceramic pieces to the kiln firing itself. This transcendence of the firing process into an art form is framed by concepts of performative art, and relational art which metaphorically reflect the consonances between firing and birthing.
What initially sets forth this transformation is the making of LUAL, a monolithic sculpture in the form of a birthing woman. Being a large-scale ceramics, LUAL demanded a number of considerations such as the forming technique to use, structural support systems, methods to expedite drying, forming over an extended (or shortened, at ICF) period of time, size and design of kiln needed to fire it in-situ, designing and construction for a specific site, assembling and weatherproofing are some of the things that had to be thought about. On top of these challenges, the primary design problem to hurdle was how to incorporate a kiln structure into this large-scale sculptural volume. LUAL is based on a downdraft kiln structure, wherein the draft flows from an inlet flue located near the crotch door, directing it to the interior curve of the belly and out of the exit flue located at the back of the firing chamber and at the base of the chimney. The height and width of the chimney is based on the dimensions of the firebox where wood was stoked.
Since LUAL is made of clay, it has to be fired as well in order for it to transform into a ceramic form that will function as a kiln during and even after its initial performance firing.
|In Studio with Ester Beck
Watching Ester Beck at work, you get the impression you are watching hard labour. With great physical effort and with the use of a hammer, she creates floating forms from an initially heavy block of clay. In this Interview, I would like to find out how the "Hammer Lady" sees herself.
- Ester, when I watch videos of you at work, I am astonished by how you seem to prepare and work on heavy pieces of clay energetically but without any difficulty. What precautions do you take to protect your joints?
- I find this extreme physical interaction between the massive lumps of clay and myself very exciting. I never worry about whether this great use of physical strength could harm me. At my age, you might call this ill-advised. But as yet, I do not have any problems with my back or my joints. Well, OK, sometimes when I am carting heavy lumps of clay back and forth, I may strain a back muscle. That might induce me to get help sometimes.