New Ceramics 2/2019 - Content



Interview – Torbjørn Kvasbø – Norway
Mindaugas Navakas – Lithuania
Jutta Becker – Germany
Petra Lindenbauer – Austria
Detlef Kunen – Germany
Jessica Steinhäuser – Canada
Andrea Bielicki-Helms – Germany


40th Anniversary of Galerie Heller – Heidelberg – Germany
Walking in the Footsteps of Master Makers – Fuping – China
A Visit to St. Ives – St. Ives – UK
Ceramics and Porcelain in the Augarten – Vienna – Austria
Clay between two Nations – Singapor – Singapore
8th Keramiksymposium – Gmunden – Austria
The Blue Flower – Berlin – Germany
CERASMUS – Perugia – Italy/Europe


Pálma Babos – Hungary, Naoki Kato – Japan – Ting-Ju Shao


Alvin Tan Teck Heng – Evelyne Schoenmann – Interview / Developing skills

DATES / Exhibitions / Galleries / Museums


New Ceramics 2/2019

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    Interview – Torbjørn Kvasbø – N, Mindaugas Navakas – LT, Jutta Becker – D, Petra Lindenbauer – A, Detlef Kunen – D, Jessica Steinhäuser – CDN, Andrea Bielicki-Helms – D

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    Torbjørn Kvasbø


    40th Anniversary of Galerie Heller – Heidelberg Germany, Walking in the Footsteps of Master Makers – Fuping China, A Visit to St. Ives – St. Ives UK, Ceramics and Porcelain in the Augarten – Vienna Austria, Clay between two Nations – Singapor Singapore, 8th Keramiksymposium – Gmunden Austria, The Blue Flower – Berlin Germany, CERASMUS – Perugia Italy/Europe

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    Giorgio Ricciardi  – Foto Meissl


    Pálma Babos – Hungary, Naoki Kato – Japan

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    Naoki Kato


    Evelyne Schoenmann visits Alvin Tan Teck Heng in her Studio

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    Dates and Exhibitions from Amsterdam to Winzer



Profile: Jutta Becker – D, Petra Lindenbauer – A, Detlef Kunen – D,  Andrea Bielicki-Helms – D Exhibitions: Ceramics and Porcelain in the Augarten  –  WienA, Clay between two Nations –  Singapur – SGP, 8th Keramiksymposium –  Gmunden – A Artist Journal: Pálma Babos -HU, Naoki Kato – J In Studio: Alvin Tan Teck Heng – Evelyne Schoenmann

Jutta Becker

A busy street in the Südstadt district of Karlsruhe with a lot of private houses, two churches, a cinema and a few pubs. There used to be a number of small shops here, catering for the locals’ needs. They are now mainly used for other purposes. In one of them, Jutta Becker offers her works for sale. In the room next door, she lives with her husband and their cat Lucy.
Jutta Becker, born in Alzey in 1968, first did commercial training before she trained from scratch as a ceramist at a vocational school, the Berufsfachschule für Keramik in Landshut.
After qualifying, she went to Ireland in 1993 for three years, where she worked in various potteries, first in Belfast and finally in Dublin. During this time, she experimented for the first time with slab building and reliefs. She also learned about production pottery here. She returned to Germany in 1996 to study at a college of design, the Fachschule für Keramikgestaltung in Höhr-Grenzhausen. For graduation, she specialised in decor and surface treatment on the theme of “Texture and Pictorial Mural Objects”, using screen printing and low-fire saltglaze techniques. She was particularly impressed by a workshop with Renée Reichenbach on the subject of Vessel and Surface.


(Antje Soléau)

Jutta Becker

Order easily on 02426-94 80 68 or by email on

Petra Lindenbauer

Among celebrity chefs in Austria, it has become customary to serve their unique culinary creations on equally unique plates and bowls. One of the main “suppliers” of such distinctive tableware is the ceramist Petra Lindenbauer. She works in Stadtschlaining, Southern Burgenland, close to the border with Hungary. She has her studio in a row of Burgenland houses from the 17th century. She was born in Waidhofen/Ybbs, Lower Austria in 1967 and grew up in a family of artists – her father is a sculptor. She says, ”This access is important because it makes a difference if you have a background in art or in craft.” Craft is of course the basis when you interpret ideas but it is not the starting point for the artist’s ideas when she develops designs.
She received her basic training in ceramics from 1983 – 1987 at the Ortweinschule in Graz in a higher art course, specialising in ceramic design. In 1998, she graduated from the University of Vienna in art history and archaeology with a dissertation on Etruscan ceramics in the 6th century B.C.E. Between 1989 and 2010, she worked together with her husband Georg Lindenbauer in a studio for large-scale ceramic sculpture and contemporary heating units in Klosterneuburg. Since then, she has had her own studio in Stadtschlaining.

(Antje Soléau)

Petra Lindenbauer

Detlef Kunen

“Good food is my passion, cooking and baking my hobby and ceramic art my profession. These three factors have led to me making artistic baking moulds in stoneware which can be used for baking but also for jellies, blancmange or meat loaf. Edible sculptures (author’s note: ”casts” from the moulds) are the highlight on any dinner, buffet or tea table.” This is how the trained ceramist and graduate sculptor Detlef Kunen from Dülmen in western Germany introduces himself, describing at the same time the genesis of Alfons, Cavallo, Emmilein, Opera, Herr Knoll or Göttliche Erleuchtung (“Divine Enlightenment”). Imaginative names for fantasy baking moulds! The results are eye-catching – not only on the table or buffet but also at pottery and ceramics markets all over Germany.
This is what happened when he was seen at the Oldenburg International Ceramics Fair last summer. Kunen was taking part for the first time, and on the basis of her own experience with the visitors there, a colleague had recommended him to take at least twenty of his best seller, the form Opera, which is somewhat reminiscent of the famous opera house in Sydney. He reckoned sixteen would be enough, which was his misfortune because they were all sold by Saturday evening.

(Antje Soléau)

Detlef Kunen

Andrea Bielicki-Helms

Andrea Bielicki-Helms exhibited her ceramic objects and vessels at Galerie Belinda Berger in Westerstede-Linswege in 2018. With a background in painting and sculpture, she has increasingly explored clay as the medium of artistic expression for herself.
She enriches commercially available stoneware with her own grog and prepares it for use. Large vessels are handbuilt, then further refined and thrown on the wheel. Further steps include stretching, squeezing and compressing. If required or desired, the piece can first be thrown to achieve the intended initial form.
A study of the art of the Cyclades led to the appropriation of certain concepts that can be seen and perceived in various pieces of hers. The scored motifs covering the whole surface of her pieces – the “naked body landscapes” – reveals a mystic hint of eternal life and desire. Bielicki-Helms is repeatedly drawn to the archetypal, the primeval, the origins in their becoming.

(Christian-Michael Vollbach)


Christian-Michael Vollbach

Ceramics and Porcelain in the Augarten

In 2018, the exhibition Ceramics and Porcelain in the Augarten took place for the fourth time. Last year, the Augarten Porcelain Manufactory celebrated its 300th anniversary, reason enough to briefly take stock.
The way ceramics in Austria, and in particular in Vienna, is perceived in its production of individual pieces of high artistic standing leaves much to be desired. Ceramic traditions in Austria are mainly restricted to renowned manufactories, first and foremost the Augarten Porzellan Manufaktur and Gmundener Keramik. Although at the beginning of the 20th century, with the founding of the Wiener Werkstätten, run by Josef Hoffmann and Koloman Moser, there was an influential initiative for quality design of everyday items, ceramics as an autonomous form of artistic expression was largely neglected. Among the artisans mentioned by name who executed the designs of their artist colleagues, there is not a single ceramist. What is lacking is an awareness for the value of ceramics as a valid and autonomous art form, which in its manner of expression makes use both of forms orientated to use as well as nonfunctional ones. Only recently a gallerist said to me he needed something “artistic” and not functional ceramics, which demonstrates that “function” is still a criterion that reduces value. And yet there are recognised role models, for instance Lucie Rie or Kurt Ohnsorg.

(Walter Meissl)

Giorgio Ricciardi – photo Walter Meissl

Clay between two Nations

Singapore – one’s thoughts automatically turn to the all-year tropical climate, the breathtaking architecture and the skilfully orchestrated harbour, Marina Bay, not to mention the huge range of food! Visitors find open-sided, roofed cookshops on every corner, inviting food courts known as Hawker Centres, where they can indulge in a leisurely feast. This hospitable island and city state in southeast Asia with its friendly, multicultural population, rapidly developed into a global centre for commerce and finance after separating from Malaysia in 1965, thereby becoming one of the most affluent nations on earth.
Culturally speaking, Singapore is a multifaceted mix of cultures, traditions, religions and passions. One of these passions is the craft of ceramics. Accordingly, the Museum of Asian Civilisations and the Peranakan Museum house exquisite artefacts from Singapore’s volatile history. The ceramists’ association, the Nanyang Clay Group is completely at home in the present. “Nanyang”, a Chinese term that was frequently used in Singapore for South China or “South Sea”, is the homeland of a large section of the originally Chinese inhabitants of Singapore.

(Evelyne Schoenmann)

Torrent by Tan Chia Chuen

8th Keramiksymposium Gmunden

From 10 September – 13 October 2018, the 8th Gmunden Ceramics Symposium took place on the shores of the Traunsee in Austria. Ten participants from six countries worked for five weeks in the KUNST.WERKSTATT, a studio at the Gmundener Keramik Manufactory – which in 2003 revived the internationally renowned Symposium, exactly forty years after it was initiated by Prof. Kurt Ohnsorg – as well as ATELIER studio of sanitary ware producer Laufen. The eighth symposium took place under the patronage of the town of Gmunden, as was also the case in 2006, 2008, 2010, 2013 and 2015, and of the Verein zur Förderung europäischer Keramikkünstler, an association for the promotion of ceramic artists, which has also been one of the organisers since 2006. The picturesque lakeside town, which can look back on a 300-year ceramic tradition, is thus continuing to expand its reputation as one of Europe’s ceramic capitals.
The intention is to come closer to the original aims of the Verein zur Förderung europäischer Keramikkünstler again, i.e. to further exchange between European ceramic artists, especially by fostering emerging talent and to promote the reputation of ceramics as a relevant medium in contemporary art. The two companies Gmundener Keramik Manufactory and LAUFEN generously provided the premises as well the facilities for production and firing.

Yara Lettenbichler

Artist Journal: Pálma Babos and Naoki Kato

Pálma Babos (Hungary)

Pálma Babos was born in Nagykanizsa, Hungary in 1961.
Her sculptures resemble towers frozen in the moment of collapse. Drawing on the feature of clay melting in extreme heat during the firing process, the artist leaves the end result to providence, demonstrating the wonder that the kiln has brought to the work.

Naoki Kato (Japan)

Naoki Kato was born in Okayama, JAPAN in 1979.
“Pottery is fragile. But that makes it beautiful,” Naoki says. The artist transforms the presumably heavy clay into a featherlike 20 gramme object. With a Zen-like spirit, some Japanese middle-career ceramic artists have ceaselessly pushed the technical and aesthetic boundary of ceramics, expanding the vocabulary of ceramic art.

Pálma Babos

Naoki Kato

In studio with Alvin Tan Teck Heng

Alvin, congratulations on the new studio. This is a huge, modern and very well-equipped room. A dream for every ceramist to work here. And I know you DO let people work with you…
Thank you, Evelyne. I am very fortunate as I had the opportunity to observe many ceramists’ studio before I got this one done. My friends and I have a dream, we want to help to keep the spirit of clay alive and to introduce South East Asian clay artists to the world and vice versa. One way is to invite clay artists to work in residency programmes and showcase their work in my gallery.I work hand in hand with Boxplot Initiative, run by Mark Valenzuela and Anna O’Laughlin, who will be the main curators for all projects. We had our first programme during your visit to Singapore, with Filipinos and Singaporean artists.


(Evelyne Schoenmann)

Alvin Tan Teck Heng

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