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[rs_section_title title=”Extracts” class=”p-b-30″]Profile: Paolo Polloniato (POL) – IT, Alfred Schließler / Krösselbach – D,  Janina Myronova – PL,  Karin Flurer-Brünger – D
Exhibitions: Heidi Manthey – Velden – Germany,  Bauhaus Workshop Museum – Dornburg – Germany, Sensual Architecture – Daugavpils – Latvia
Artist-Journal: Haruyuki Matsumoto and Sayaka Shingu  – Japan
In Studio: Marcia Sensor  – Evelyne Schoenmann[/rs_section_title]

[rs_section_text_block heading=”POL (Paolo Polloniato)” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]In order to understand Paolo Polloniato (POL in art) in terms of his oeuvre and career, we have to look back to 2008, an important moment in contemporary social and economic history: that was the year in which the financial crisis that had originated in the United States in 2006 spread virulently to the rest of the world. Still today we can see its social and political effects. In 2008 POL was 29 years old, and he had just completed his diploma at the Venice Fine Arts Academy where he had studied principally painting. That year, before moving to Paris (2009 – 2011) and then Brussels (up to 2013), he returned to his city of birth, Nove.
Nove is a small city in the province of Vicenza, near Bassano. Initially a crafts centre, from the 17th century it developed an industrial structure that made it one of the most important locations in Europe for ceramics.

(Luca Bochicchio)[/rs_section_text_block]

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[rs_section_text_block heading=”Keramikwerkstatt Krösselbach 1946 – 2020″ btn_link_one=”url:%23||” btn_link_two=”url:%23||”]At the apex of a tightly curving valley, the waters of the diminutive Krösselbach ripple down to the River Neckar from the heights of the Odenwald forest in a narrow ravine and give the name to the village. On a narrow plot of land at the foot of the steep, wooded slope, right by the Neckar, Gustav and Carla Schliessler built a summer cottage in 1928 beside a spring with good water that flowed all year round.
In 1937, the family emigrated to this remote spot and has lived here ever since. A large vaulted cellar excavated by the Schliesslers at that time still bears witness to a mediaeval settlement.
Due to the war, Gisela Schliessler, daughter of Gustav and Carla, could only train briefly, until 1942, as a sculptor at the Academy in Karlsruhe. In 1945, she was given a potter’s wheel as a gift because it was known that she worked with clay, did not form sculptures and since 1942 had a studio in a boarded shack in Krösselbach.

(Alfred Schließer)
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[rs_section_text_block heading=”Janina Myronova” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Interviewed by Monika Gass

What was your first step in ceramics?     

As a small child I was doing a lot of creative things. I loved singing, playing the guitar, dancing and painting. I chose to go to art college in Donetsk in Ukraine. I joined ceramics specialization with a recommendation from my teacher, who prepared me for the exam. I started with small sculptures; still I have one of my first works, which shows my father. In my second year of studies I understood I love classes where we were trying different kinds of decoration techniques. I experimented a lot with overglaze painting and for my diploma I did a wall piece for the entrance to art college, which is still on the wall. After art college I was sure that I would like to continue to study ceramics. I finished Lviv National Academy of Fine Art in Ukraine and Eugeniusz Geppert Academy of Art and Design in Wroclaw, Poland for my master’s degree.[/rs_section_text_block]

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[rs_section_text_block heading=”Karin Flurer-Brünger” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Talent, curiosity, creative energy and unmistakable joy in everything she does and plans: this was what Karin was like when I got to know her more than thirty-five years ago. And that is exactly what she is like today. Someone who as a ceramist is full of energy and vigour. No surprise then when again and again new themes demand new zest, and interior as well as exterior adaptations in her everyday work routines. In the balancing act between her own studio and the university, travelling abroad to far distant countries, between her demanding work as a therapist, giving to people who are currently not well and organising and participating in symposia where batteries can be recharged – to Karin Flurer-Brünger all these aspects are interesting, but above all they are of equal value. For all this you need a good foundation that, while you are learning, reflects various aspects of what you will later be doing. From 1973 – 1976, she spent her apprenticeship and journeyman years at the pottery of Gerhard Seiler, as the last trainee there, in Leutershausen near Ansbach, where at that time tableware in the tradition of the Polish ceramics town of Bolesławiec was being made.

(Monika Gass)[/rs_section_text_block]

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[rs_section_text_block heading=”Heidi Manthey – The Doyenne of East German Ceramics at Ninety” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]For her 90th birthday and for the first time, the Hedwig Bollhagen Museum is tracing more than seven decades of Heidi Manthey’s career in art. With over 150 “favourite pieces” – from her own collection, the collections of friends and companions as well as from the donation of the Hedwig Bollhagen estate, the collection of the German foundation for the preservation of cultural heritage – the encounter with Heidi Manthey’s faience and porcelain allows us to immerse ourselves in “another world”, as American theatre director Robert Wilson so fittingly put it in his dedication.
She was known as “the woman with the clay pipes” when she was a student in the elevated surroundings of the castle, Burg Giebichenstein in Halle an der Saale, known then as the “Institute of Artistic Design”, where she later taught ceramic decor from 1980-1997.

(Nicole Seydewitz)[/rs_section_text_block]

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[rs_section_text_block heading=”The Bauhaus Workshop Museum in Dornburg” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Worldwide there is no other building in which a Bauhaus workshop is so authentically preserved as in the former stables in Dornburg, which has been extended to convert it into a museum. On entry, the atmosphere of the training workshop opened in 1920 can already be sensed. Wheels, the clay preparation equipment, a ball mill for glazes and the slipcasting moulds for what are now icons of ceramics still stand in their place and are in working order. The structure created by Gerhard Marcks, Theodor Bogler and Otto Lindig  for this part of the Bauhaus is unchanged and still alive.
The small town set on a rocky plateau above the River Saale was renowned for is potters and the clay deposits in the vicinity. After the German November Revolution of 1918-19 and the abdication of the royal house of Weimar, the palaces in Dornburg stood vacant at the beginning of the 1920s.

(Doris Weilandt)[/rs_section_text_block]

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[rs_section_text_block heading=”Sensual Architecture of inner fortresses of Hungarian artists” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Zsófia Karsai and Márta Radics
An artist’s work always involves a deal with the reflection of the creator’s inner world, is it a realistic depiction of social scenes or an abstract expression of one’s emotions. When presenting a complete artwork to public judgement, every artist lets one peek into the depths of the most private territories of his inner world. In 2019, while holding two simultaneous solo shows at Daugavpils Mark Rothko Art Centre, two Hungarian ceramic artists, Zsófia Karsai and Márta Radics built and showed the interiors of their inner fortresses, both in Karsai’s exhibition Step by Step and Radics’ show of her Kingdom. The artists got the invitation to hold a solo show at the Art Centre as a juried award for a “Memory Box” Competition, that took place at Daugavpils Mark Rothko Art Centre in late 2017.
There is a strong concept of symbolism in the artworks by Zsófia Karsai. The overall outlook of shapes created by the artist refers to simple geometrical forms and solid bodies of medieval architecture.

(Valentins Petjko)[/rs_section_text_block]

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[rs_section_text_block heading=”Artist Journal: Haruyuki Matsumoto and Sayaka Shingu” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Haruyuki Matsumoto  (Japan)
Matsumoto was born in Tottori, Japan, in 1983. After graduating from the master’s programme in Kyoto Seika University, Matsumoto once settled in Shigaraki, and focused on making wood-fired white porcelain vessels. His cups, tea ware, bottles, and jars are elegant and sophisticated, countering the impression of wood-fired ceramics as heavy works with strong traces of fire and ash or repetitive works.  

Sayaka Shingu   (Japan)
Sayaka Shingu was born in Osaka in 1979. The highly sophisticated craftwork and decorative art in the Edo period laid part of the foundation of modern aesthetics in Japan. The 21st century Japanese ceramicists began to enlarge emulative ceramic flowers over ten times, and later construct delicate landscapes with very tiny dots or fine spines.

(Ting-Ju SHAO)  [/rs_section_text_block]

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[rs_section_text_block heading=”In studio with Marcia Selsor” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Marcia, you are a Professor Emerita. In 2016 you celebrated half a century working in clay. We have known each other a long time already, but would you explain your background to our readers?

I have a BFA and MFA in ceramics. I began teaching ceramics in 1975 in Billings, Montana. I spent a year on a Fulbright Fellowship researching traditional Spanish potters in 1985-86, and in 1994 I went to Uzbekistan on a Fulbright Award to teach studio ceramics and ceramic art history at Tashkent Institute of the Arts. In 1991 I was part of a group of Americans who hosted 12 ceramic artists from the former Soviet Union and was invited to Latvia for a month to work with the same group. Peteris Martinsons was one of the organizers. I have taught workshops in Europe since 1995. First in Spain at Centro Agost 1995-99. Then I began teaching at La Meridiana in 2001. I have had numerous international residencies and participated in symposiums in Canada, Iceland, Italy, France, Latvia, Spain, Uzbekistan, and in the US at the Archie Bray Foundation and the Clay Studio in Philadelphia. Working internationally truly broadens one’s perspective. 

(Evelyne Schoenmann)[/rs_section_text_block]

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