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[rs_section_title title=”Extracts” class=”p-b-30″]Profile: Corien Ridderikhoff – Netherlands, Lena Peters – UK, Francesco Raimondo – Italy, Srabani Ghosh – UK / India
Exhibitions: The Brilliance of Old Slipware – Wolfgang Bickel – History, Milk-Jug Museum – Großkrotzenburg – Germany
Ceramics & Travel: Fábrica Bordallo Pinheiro – Caldas da Rainha – Portugal
Artist-Journal: Jason Walkeri and Shih Hwa Lee
In Studio: Irina Razumovskaya – Evelyne Schoenmann[/rs_section_title]

[rs_section_text_block heading=”Corien Ridderikhoff” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Although Corien Ridderikhoff grew up in a family which was art minded, it was not natural for her to go to art school. To be sure of a job it was advised to Corien to train in manual skills.
The Gerrit Rietveld Academy in Amsterdam, nowadays an art school, was at the time a teacher trainings college for craftmanship. There she specialized in ceramics and wood. Especially the lessons of teacher Adriana Baarspul made her enthusiastic about devoting her life to ceramics.
Fascination for Japanese culture
In Paris she visited, during a study trip, the Musée national des arts asiatiques-Guimet, or Musée Guimet for short, where a lot of Japanese ceramics can be seen. This had a major impact on her work. Corien, who was already fascinated by Japanese culture, started to make tea bowls and pots combined with wooden and ivory lids. She also fabricated lid boxes out of stoneware clay plates, in the form of houses, temples and pagodas. This work was usually glazed with reduction glazes, such as celadon, ash glaze and tenmoku glaze.

(Elisabeth Eyl)[/rs_section_text_block]

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[rs_section_text_block heading=”Lena Peters” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]I am a ceramic artist and storyteller from Sheffield and based in London. I graduated from Central Saint Martins university on the BA (Hons) ceramic design course in 2017 and am represented by David Gill Gallery.
My practice revolves around the process of “fictional archaeology” (as coined by Dunne and Raby in 2013’s Speculative Everything, Chapter 8, p. 140), creating objects which exist to embody a narrative rooted in history, myth and folklore. I am strongly influenced by the traditions of narrative ceramics, including ancient Greek and Roman vases, figurative works from antiquity and contemporary pieces exploring these ideas. Even more so, I am influenced by the stories themselves – by the mythologies, symbolism, traditions and folklore of old, as well as an interest in historical and modern Catholicism.
The aim of my work is to push the boundary between the real and the unreal, causing people to question the authenticity of the pieces.

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[rs_section_text_block heading=”Francesco Raimondi” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]In 2000, at Vietri sul Mare on the Amalfi Coast, a very unusual ceramic piece appeared. It was a parade plate painted by Francesco Raimondi, a work that won him the prize titled “A Journey in Ceramics” in the section reserved for craftspeople from the Campania region. In some ways it represented a radical break because the exhibitionist figure posing aggressively at the centre of the plate is a very well-hung Merman. In Vietri sul Mare, where during the 20^th century thousands of objects were decorated with the mermaid motif, no-one had yet dared to modify the genre, whether physically, sexually or artistically. With this adroit move, Raimondi surpassed even himself: in fact, up until then he was principally known, and famous, as the illustrious heir to the iconographic and decorative heritage, and to the faux naïve style crowded with donkeys, fish, madonnas, birds, shepherds, saints, fishermen and mermaids, introduced to Vietri sul Mare during the period between the two World Wars by German and Central European artists who had emigrated there, from Richard Doelker to Irene Kowaliska. 

(Enzo Biffi Gentili)[/rs_section_text_block]

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[rs_section_text_block heading=”Srabani Ghosh” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Born in the UK, Srabani Ghosh graduated from the University of Calcutta, India, before joining in 2013 London’s Central Saint Martins. She graduated three years later with 1st Class Honours in Ceramic Design. Since then, out of her West London studio or from Buckinghamshire’s HG Matthews century old kilns, Srabani relentlessly pushes the boundaries of her unpredictable medium of predilection by singularly blending to the earthenware the authenticity of her roots and emotional narratives.
“As an artist working at scale with a ubiquitous material such as clay, I seek to change and challenge perceptions. I consciously choose to revive and innovate age-old processes and techniques often lost and forgotten in this digital age. Digital transformation that appears to draw the world close paradoxically is pushing the souls of our humanity further apart. Isolation and loneliness is on the rise despite the noise and cacophony of technological advancement that threatens to steal our sleep, well-being and life force.”

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[rs_section_text_block heading=”The Brilliance of Old Slipware” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Spanish Night
Instead of the customary signature, the letters JST with a fir tree, the panel bears a deeply impressed seal with the initials. It is dated 1981, with the last numeral underlined. Both  elements are striking.
On 8 January 1981, Jakob Stucki wrote about the work on “probably my last major exhibition, […] but first I have to buck myself up and get well again“. The way it was signed and the biographical note help the viewer to understand the unusual quality of this panel. The potter Jakob Stucki was aware that it would be one of his last works. It was exhibited in an exhibition in Langnau, Switzerland, entitled Jakob Stucki / Töpfer (“Potter”) on 10 September 1981 but was not released for sale on the opening evening.
The potter died om 2 April 1982.

(Wolfgang Bickel)[/rs_section_text_block]

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[rs_section_text_block heading=”Milk-Jug Museum” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]On 1 June 2019 – World Milk Day – I opened probably the largest milk-jug museum in Germany in Großkrotzenburg, near Frankfurt. There are currently around 2,400 exhibits on show, made of ceramic (porcelain, creamware, saltglaze, stoneware and earthenware), as well as metal, glass and plastic.
The majority of the exhibits were produced in Germany. Then come milk jugs from European countries Bulgaria, Denmark, France, the UK, Ireland, Italy, Jugoslavia, Latvia, Luxemburg, the Netherlands, Norway, Austria, Poland, Portugal, Romania, Sweden, Spain, Switzerland, Turkey, Czech Republic and Hungary. From the rest of the world, there are exhibits from Australia, Canada, China, Japan, Malaysia, Nicaragua, USA, Sri Lanka, Taiwan and South Africa.

(Nirava Silvia Becker)[/rs_section_text_block]

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[rs_section_text_block heading=”Fábrica Bordallo Pinheiro – Portugal” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]The functional wares from manufacturer Bordallo Pinheiro, on sale at Humberto Delgado International Airport in Lisbon, is colourful and humorous. Around a tureen shaped like a head of cabbage, matching plates, large and small bowls are grouped. A jug in the form of a sea bream dominates its matching set. Beside it there are bowls and plates in a melon decor, lidded jars in the form of pine cones, bell peppers and tomatoes.
The idea for realistic decor is old. Elaborately shaped and painted cabbage, lettuce and animal tureens have enjoyed great popularity since the Baroque age or earlier. As a part of royal hunting services, these trompe-l’œil eye catchers had great prestige value. 

(Anette Froesch )[/rs_section_text_block]

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[rs_section_text_block heading=”Artist Journal: Jason Walker and Shih Hwa Lee” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Jason Walker  (USA) 
Walker (1973) features animals prominently in his works. He documents the human invasion of nature and the steady encroachments of animals’ habitats. His works also depict a new awareness introduced by technology that redefines the links between humanity and nature.

Shih Hwa Lee   (Malaysia)
Born in Johor, Malaysia, in 1987, Lee now lives in Tainan, Taiwan. From fishes in the sea, reptiles on the land, to beasts of various kinds, her creatures are never-seen-before animals melded from different species symbolizing the union of ancient unknown forces. Made by her skilful hand-building and glazing techniques, every running or jumping auspicious animal with its unique story is a clear demonstration of forms and discourses.  

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[rs_section_text_block heading=”In Studio with Irina Razumovskaya” btn_link_one=”url:%23||” btn_link_two=”url:%23||”]Irina, I’ve read in an article that your interest in art already started at the tender age of five. That is very young and calls for an explanation…

I come from a typical Russian intelligentsia family of scientists. We lived in a grim communal flat, which is my earliest memory – endless corridors with closed doors, shared 100-year-old kitchen with dozens of pickling jars, myriads of cockroaches and odd neighbours. At the same time my family and I were immersed in a bubble of culture and beauty. In those days, this cultural overdose was a way to escape grim reality. And this is how my love for art has evolved. At the age of 5, I enrolled at the Kustodiev State Art School and in the Hermitage Museum Art Lecture programme, and since then, I have never stopped working in the world of art.

(Evelyne Schoenmann)[/rs_section_text_block]

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