2014-09-10

NATURE FEATURES September-October 2014

CLICK photo = LARGE format + slide show..

NATURE FEATURES
Jonathan Keep, Jane Reumert, Heidi Hentze, Lis Biggas, Inge-Lise Koefoed
Exhibition 18 September - 25 October 2014
ARTIST TALK - Saturday 20 September at 15-17.00 Jonathan Keep on 3D-print..
More exhibitors will be present and talk about their work..


Nature in contemporary ceramic art.. from bowls to 3D-print in porcelain.
3D-print technology and ceramic expertise meet in this international exhibition.
Jonathan Keep from the UK shows together with Jane Reumert, Heidi Hentze, Lis Biggas og Inge-Lise Koefoed from Denmark.
Nature inspiration is a great topical theme of all times and holds an infinite number of expressions, facets and angles.

Jane Reumert refines the delicate botanical in fragile porcelain pieces, Lis Biggas takes imprint of natural phenomena and Heidi Hentze combines paper-like geometry with organic growth and decay, Inge-Lise Koefoed mixes ceramic materials with oil paint in her sculptural objects, and Jonathan Keep decodes nature in 3D-printed porcelain pieces.

The ceramic pieces mirror artistic presence, expertise and fascination in the features of nature.

Jonathan Keep UK - www.keep-art.co.uk
Technology & ceramics – transformation. Jonathan Keep exhibits 3-dimensional print in ceramic materials.
Idealistic and artistically, Keep experiments with digital transformations of various codes appearing from sounds and objects of nature.

The pieces reference our time of constant digital presence. Poetic ceramic objects created by unusual codes of natural phenomena in a sophisticated combination of technological and ceramic knowledge.
www.youtube.com/user/jkpottery
The digital ceramics inform of the new possibilities for contemporary ceramic art in dialogue with the new technology of ceramic 3D-printing.
The digital information is passed on to a studio based DIY 3D printer that he has adapted to print in clay. Layer by layer the pots are printed out – a sort of mechanical pottery coil building. After printing, the ceramic is fired and glazed in the normal way.
"From the elemental forces of earth, fire and water pottery has traditionally drawn on nature for inspiration. In using computer code to create this work, I aim to add a further layer to include the elemental natural-mathematical patterns and structures that underlie all form. The appreciation of this work illustrates just how much we are connected at a very deep level to the natural world."
For more information and previous exhibition in the Gallery: CLICK

Jane Reumert DK
Jane Reumert paints on thin porcelain bowls, light brush strokes with memories of Danish beaches, or she allows the ashes from the wood firing to deposit naturally on the structures of the surface.
She is known and admired by ceramics lovers for her eminent personal pieces.

The ceramic bowls, infinitely fragile and gentle, almost spherical, are often inspired by the patterns and colour tones from the Danish countryside, but worked for an abstraction, where lightness is transformed to the viewer, so the pieces in their fragile existence become useful signals about the nature of human.
Jane Reumert has in his career moved from modelled vessels in stoneware with precise decorations to delicate series of objects and unbelievably thin bowls in advanced porcelain types and techniques emerged from countless experiments with form, surface and ceramic firing.

Jane Reumert was educated at the Danish Arts&Crafts School ceramics 1960-1964, and has her studio and gallery in Copenhagen, 'Strandstræde Ceramics' with the colleagues Beate Andersen and Gunhild Aaberg.
She is a member of the exhibition group 'Ceramic Ways' and the International Academie de la Ceramique, IAC. - Represented in several museums from the Metropolitan Museum of Art, New York, Art and Design Museum in Oslo and Helsinki, the National Museum in Stockholm to Trapholt Art Museum and the Design Museum – Denmark, and has exhibited in New York, Paris, Brussels, etc..


Heidi Hentze DK
Heidi Hentze experiments with porcelain and glaze in poetically folded containers, that reveal new areas for personal and adventurous sensitivity as in origami and paper cutting.
It started as material tests, the invention and challenge of ceramic techniques and materials. The fight with and against gravitation. Making things as thin as possible, - and then a bit thinner than this...

About seeing and turning 'flaws' to advantages... colouring crackle glazes, 'the leaf' that fell of, the fragility of porcelain in complete and precisely constructed geometric shapes that unfolds in the heat of firing.
It is an increasingly technical, artistic and personal development - on materials, colours and firing temperature to form, idea and personal relevance. The sensuous in geometric shapes, boxes and systems refers to space, spaciousness, abandoned rooms, an 'absent presence'. To fit in. To adapt. To make room. To challenge the material and reinvent existence.

Heidi Hentze was educated at the Glass and Ceramics School of Design - Bornholm (now: Academy School of Design) 2002-06 and has been 'Artist-in-residence' at Svanekegaarden, Bornholm and in Ecuador. Now, she has a studio on the island of Bornholm. Since 2011, receiving the Danish Arts&Crafts Bronze Award and travel grant, an award from Annie and Otto Johs. Detlefs Foundation, she has been awarded with several grants and exhibited worldwide: 'Bornholm Juried Spring Exhibition', Danish Biennial for Crafts and Design, International Biennial Korea, in the Faroe Islands, Grønbechsgaard, International Ceramic Museum - Grimmerhus, Bornholm Art Museum, Round Tower Exhibition Hall in Copenhagen, Form & Design Center, Malmö, Gallery Turf and Collect, London, and 'SOFA' Chicago ...
She is a member of ACAB (Arts & Crafts Association Bornholm).


Lis Biggas DK
Lis Biggas works with the Nature's many materials in a direct, but no less sophisticated way - and for practical use.
The pieces are functional, intensively idea-based contemporary ceramics created by a dedicated craftswoman. A range of dishes, small plates and bowls have imprints of the turbot's warty skin that is pressed into the wet clay, and the rough glazes consists of clay from the local beach. Other works have crab shells, claws, fish bones and seaweed placed on the low-fired piece to which slip (liquid clay) is sprayed leaving a negative imprint on the surface. The multiple layers of colours create a depth as in watercolour painting.

The various nature objects and materials are not always clearly visible, but are revealed to the attentive observer as secret images encoded with life ideals and material knowledge. The mix of surface texture may be the close interaction between a glossy transparent glaze and a rough brown 'lava' appearing from a local clay that melts at high temperature.

Lis Biggas graduated from the Danish School of Applied Arts (Now: Academy School of Design) 1985. Selected exhibitions: 'Every thing has two sides' Sealand Group, Allerod 2013 - Biennial for Crafts and Design 2013 - 'The World on a Plate' SAK, Svendborg 2012 - Across Carlsberg New Tap 2010, Danish Ceramics Triennale, Trapholt Museum 1994; - Awards By Gertrud and Myre Vasegård's Estate 2009, the Danish Arts Foundation 2009, International Ceramic Center in Kecskemét, Hungary 2003, Town of Fredericia Art Award 1996, Herman A. Kähler 1st prize, Teapot Competition 1993 .. Commission works: the Epilepsy Hospital, Dianalund 2002, Fredericia Hostel 1996, Soppesøen Park in Copenhagen 1988, Non-Profit residential Ragnhildgade 1987…

Inge-Lise Koefoed DK
"Everything is connected, life is a cycle, a balance between the large and the small, the local and the global.
All living beings interact in an overwhelming but fragile ecosystem.
The world of insects is my big inspiration - these Creepy/Crawly creatures' adventurous development metamorphosis in shapes and colour.
'Empty House' is about the abandoned cocoon shelter that has hatched a butterfly, a beetle or some other insect. And the empty house has got a bit of the hatched-out's colour."


Inge-Lise Koefoed was educated at the Danish Arts&Crafts School 1956-60, and hereafter appointed to the Royal Porcelain Factory, where her large mural commissions in white porcelain led to working in the white marble. Subsequently, the stone, metal and paper became the materials that she has mainly worked with for exhibitions in Denmark and Internationally. In between numerous assignments she has been working in clay, as for the stoneware sculptures 'Empty House' and the new work for this exhibition.

Tak til Dalhoff Larsens Fond og Danish Crafts for økonomisk støtte i 2014.
Tak til Statens Kunstfonds Projektpulje for økonomisk støtte til transport og rejse for udenlandske udstillere i 2014.


2014-08-09

AROUND THE WORLD August-September 2014

CLICK photo = LARGE format + slide show.. MORE IMAGES WILL FOLLOW..

AROUND THE WORLD
Vibeke Rytter & Ann Linnemann DK
Exhibition 21 August – 13 September 2014
Opening reception Thursday 21 august at 16-19.00

Ceramic tales of the World - a journey around the Earth..
The exhibitors visualize their travels, experiences of other cultures and personal memories. They are both concerned with looking at the world - identify, analyze and describe impressions.
The exhibition takes you on a journey of discovery around the World from Russia, USA, Tanzania to the Faroe Islands and Canada, Ecuador, Australia, China to Denmark.

Vibeke Rytter works with photographic prints on ceramic tableaux.
Ann Linnemann paints with glaze and ceramic colour on thrown forms.



Vibeke Rytter DK - Ceramic models/scenography
Architectural typologies, displacements and narratives
“The ceramic wall objects/installations are based on my many journeys including USA, Russia, Tanzania, Morocco, Cuba, Iceland, the Faroe Islands, Greenland, Berlin, New York.

I am concerned with taking photos in motion to create a flow of images. In addition to drawing/ photographing and insertion of fragments with different meanings, I create small sceneries and stories in the area between object and space, which include: A place of prayer in Morocco, slums in the United States, a special house from San Francisco, 'Jim Morrison and the sky stairs' Star Dust from the ice cap, Spice plantation from Tanzania, staging of Desert Landscape, Russian country house 'Datja' and the Faroese landscape.
I work from the 2D drawings to 3D model making in ceramic clay slaps, which are fired two times and combined with computer drawings and photos to ceramic transfer print, and fired a third time. In some of the pieces I have worked with 3D computer drawing and subsequent CNC-cutting of a cardboard model as mold.”

Jeg arbejder fra 2D tegning til 3D modelfremstilling i keramiske ler plader, som bliver brændt 2 gange kombineret med computertegninger og fotos, der bliver overført som transfermærker og brændt tredje gang. I nogle af værkerne er der arbejdet med 3D computertegning og efterfølgende i papmodel som støbeform.

“Working method: I work in four parts, the space architecture, reflection, context and process. Establish a function of space and material while leaving traces. I build it up, let something be, to elucidate the structure-building through stacks, bending, fusion, screening, erosion, etc.
I build up - break down and recycle to break new ground. Wrong side and front circling in my mind, to understand thing's genesis and problematic.
The intention is to get the material to be part of the story where the idiom is free and dissolved to open up to the outside world, concurrent with providing the substance and content.”

Previous work
Vibeke Rytter is educated at The Danish Design School, Ceramics & Glass 1986-90, and the Royal Danish School of Architecture in Copenhagen 1997-2004. in 2001-02 she was a guest student at the Academy of Fine Art, Sculpture School by Professor Morten Stræde and from 2011 a research scholar at the School of Architecture and Technology Institute.
She has received numerous travel grants and awards: the Danish Arts Foundation, Becket Foundation and National Bank Jubilee Foundation work grant. She has travelled and studied in : Morocco, USA, Cuba, Greenland, Iceland, Africa, Russia and the Faroe Islands. And participated in exhibitions in Denmark and abroad.
Vibeke Rytter core area is clearly defined by her interest in architecture, design, photography and material by virtue of her interdisciplinary education encouraged to develop processes that are crucial to the final work.


Ann Linnemann
"The journeys, memories' unerasable images each have their imprint.
Given my own travels, I have worked in ceramic with these visions as a physical, visible allocation on the the surface of the body, the form. The inner has become the outside and just as indestructibly portrayed as the high-fired porcelain.

The landscape's natural and cultural influence interest me. The grand lines, but also the details that catch the eye in.

The picturesque, painterly possibilities of the liquid ceramic glazing, the texture and depth of transparent layers has challenged me professionally. Similarly, the study of contradictions between imaging, illusion, symbolism and pattern - tradition bound ceramic vessel united with sculptural form and painting.

The horizon extends around the shape, and the story continues.
The work is experienced not entirely frontal, but the viewer has to move around and into the form.

The new work combines memories of.. Chinese Tang-Dynasty pottery melting patterns into landscapes of fluid glaze, the Amazon jungle mirrored with urban street kids and a Catholic Easter parade's blue-hooded men in a tropical rain, Australia's remote wasteland with scattered traces of people, endless stretches of mountains or ploughed fields of countries where the horizon is greater than in Denmark, dark beech trees from the major Swedish forest in a Hammerhøj-ish backlit and my childhood's ghost trees in the Danish Deer Park, Eremitage.
The mind's memories link to historical and social reflection, legends and tales, truth and illusion in an encounter with the World and people on the way around Earth."

Ann Linnemann is educated at the School for Applied Art and Design (now: Danish Arts Academy School of Design) 1983-89, apprenticeship as a certificate potter of H.A.Kähler 1979-83 and research scholar at Arizona State University, USA 1993-94. She has studied and worked professionally in Denmark and abroad. Studio residencies and travels in Japan, USA, South America, Australia, China and Europe have great influence on her working methods and philosophy. She has received several travel and work grants including Danish Arts Foundation's three-year award, National Bank Jubilee Foundation of 1968, Ole Haslund Artist Award, Knud Højgaard and Thomas B.Thriges Foundation and the Helpmann Academy Award, Australia and Banff Arts Centre Award, Canada; and has exhibited and is represented in several art collections.
In her career, an increasing interest for the development of the ceramic field, sharing and exchange between ceramists and also other artistic disciplines has resulted in an international commitment as an organizer and project manager for several international symposia, seminars and exhibitions in Denmark. She has her studio and a gallery in Copenhagen: Ann Linnemann studio gallery.


Grateful Thanks to Dalhoff Larsens Fond and Danish Crafts for funding in 2014,
and to Danish Arts Foundation for funding of international transport in 2014.