In the PROFILES section: Eight ceramic artists from Germany, Switzerland, France, UK, Italy, New Zealand, Canada. Coverage of EXHIBITIONS and EVENTS in Switzerland, Italy, Netherlands, Serbia, France, Netherlands. In the section ARTIST JOURNAL, we present Yoca Muta + P. J. Bruyniks. And we also have interviews with artists IN STUDIO as well as listings of Dates, Courses, Seminars and Markets.[/rs_section_title]
David Roberts – UK
Marta Palmieri – Italy
Katrin Ritzi-Schaufelberger – Switzerland
Angelika Jansen – Germany
Aaron Scythe – New Zealand
Heidi McKenzie – Canada
Susanne Weise – Germany
Art and Religion – Gustav Weiß – Art theory
Ceramics in spite of it all – Evelyne Schoenmann – Internet
EXHIBITIONS / EVENTS
Clay Project – Interreg Europe – Europe
Eric Veistrup – Clay Museum – Denmark
Porcelain from Capodimonte – Italy
New Horizons at A.I.R. Vallauris – France
Architectural Ceramics – Seoul – Korea
KNOWLEDGE AND SKILLS
RED from a Saucepan Developing skills
Yoca Muta + P. J. Bruyniks – Ting-Ju Shao Japan / Netherlands
Lee Jong Min – Evelyne Schoenmann – Interview / Developing Skills
DATES / Exhibitions / Galleries / Museums
COURSES / SEMINARS / MARKETS
David Roberts – UK, Marta Palmieri – Italy, Katrin Ritzi-Schaufelberger – Switzerland, Angelika Jansen – Germany, Aaron Scythe – New Zealand, Heidi McKenzie – Canada, Susanne Weise – Germany
Art and Religion – Gustav Weiß – Art theory, Ceramics in spite of it all – Evelyne Schoenmann – Internet
EXHIBITIONS / EVENTS
Clay Project – Interreg Europe – Europe, Eric Veistrup – Clay Museum – Denmark, Porcelain from Capodimonte – Italy, New Horizons at A.I.R. Vallauris – France, Architectural Ceramics – Seoul – Korea
Museo e Real Bosco di Capodimonte – San Sebastiano Martire
Dates and Exhibitions from Amsterdam to Winzer
Exhibitions: Eric Veistrup – Clay Museum – Denmark, New Horizons at A.I.R. Vallauris – France, Architectural Ceramics – Seoul – Korea
Artist-Journal: Yoca Muta + PJ. Bruyniks
In Studio: Lee Jong Min – Evelyne Schoenmann[/rs_section_title]
Your work is outstanding – colourful and strong… very complex art pieces – but still ceramics. How did you start?
From a young age I was drawn to ceramics more than other forms of communication. I think this may not have been the case if I was born in another country with a larger variety of art forms. I really love the temple sculptures in Japan and lacquer work, perhaps that is a different journey in life I could have taken if born in Japan. But ceramics is something that I love. I feel that one can express one’s emotions in clay when it is still in its malleable state, so I think this is why I am so drawn towards working in clay and have never considered changing mediums.
I really started my ceramic life when I built my first anagama kiln. My obsession at that time was Shino. Around that time I had a chance to travel to Japan and on my second trip studied with Koie Ryoiji. I had seen Oribe in books and loved it but because at that time there was so little information about it outside of Japan and had never thought of making Oribe. When I left Koie San’s studio I moved to Mashiko as I found a production throwing job and a rental studio, also because of the Leach-Hamada relation foreigners where readily accepted into Mashiko. Within less than half a year I could support myself from the work that I had made in my spare time between my throwing job. [/rs_section_text_block]
McKenzie and I first met in 2013, in the elegant Romanian city of Cluj-Napoca, as participants in the first Cluj International Ceramic Exhibition and Symposium. Romania is progressively recovering from millennia of invasion, colonization, and in 1989 successfully rose up against the horrific Ceaucescu regime. We discovered that we share the surname of Sloan/Slone, and that our Scottish ancestors were probable participants in displacing thousands of slain Catholics in Northern Ireland, in the mid 1600s, dispersing thousands more, indentured to the Caribbean.
That is to say, to the degree she chooses. Susanne’s aesthetic and approach to ceramics share much with Abstract Expression, a movement that began around 1942 in the USA, but spread throughout the world in the 1950-60s. Two of its signature artists were William de Koning and Jackson Pollock. The movement sought to elevate the emotions, while quieting the intellect in the creation of art. Spontaneity and improvisation were embraced. The artist stands before a blank canvas with as little forethought as possible, without preconceptions. The art ceases to portray any particular image nor contain meaning, it is an “expression” of pure feeling.
Erik Veistrup collects for the love of art – and entirely from his own personal taste. Throughout his life he has not only experienced a sense of purpose and great pleasure in experiencing art at exhibitions or visiting ceramicists’ workshops, he has also enthusiastically shared his passion by exhibiting his collection, inviting journalists, art associations or other art lovers to his private home, where his works have been closely crammed in the living room, in the bedrooms and in the attic.
When he began his collectorship, Erik Veistrup had already acquired a taste for the tactility of ceramic art, its many variations of form and the endless colour effects of the glazes.
(Christina Rauh Oxbøll + Henny Husum)[/rs_section_text_block]
Brinch, Anders. From left: Night Trippers, Cactus Clash, Eruption
stoneware, 27 x 28, 28,5 cm, 40,5 x 29 x 28 cm, 34 x 31 x 29 cm. 2015
These characters represent herself, as well as each one of us: the first is funny, the second is angry, the third is sad, depending on the emotion and the message the artist wishes to convey. Her mother, a psychologist, instilled in her empathy and therefore the ability to imagine what others feel. As for the sense of humour that one senses in her works, it likely comes from the influence of her father, who taught her that when something unpleasant happens in life, it is better to laugh than to cry about it.
For Koreans, the house they live in is a small universe of their own that radiates their dignity. The traditional Korean living space consists of the house, an interior courtyard and a rear courtyard that are harmoniously furnished. Especially in palaces and wealthy houses, the rear courtyard is laid out like a miniature landscape. It is constructed in steps made of stones to resemble a small mountain, and the chimney (“guldduk”) for the typical Korean underfloor heating is built on it. The chimneys are not located on the roof as they are in Europe but stand outside the house. They are part of the overall aesthetic design of the courtyard.
(Yoon-Kyung Lee – Dieter Jacobs)[/rs_section_text_block]
“Jakyongjeon” at Kyongbok Palace chimney with the motif of the ten long-lived beings,
general view photo – Chung Hyun Cho, 1980
Majoring in contemporary art in the UK, Yoca Muta (born 1981) worked in a variety of media for different ideas. In her experiment with solid materials, she found Kutani ware, and went to study its painting technique at Ishikawa Prefectural Institute for Kutani Pottery. Going beyond the precise and orderly composition of the conventional Kutani ware, she focused on living creatures and legendary animals, of which the cetaceans leaping out of the ocean are impressive.
PJ. Bruyniks (The Netherlands)
The contemporary artist PJ. Bruyniks (born 1962) is proficient in recording human behaviours with mixed-media works. His installations exemplify a kind of visual aesthetic brought forward unexpectedly by sequences, rhythms, structures, and repetitiveness. When PJ. Bruyniks was an artist-in-residence in EKWC in 2019, he hung a pencil drawing “Micheangelo`s Pietà” on the wall in his studio and created a set of ceramic units classified into Sculptables, Connectables, Attributables, and Stackables, which are removable like Lego pieces.
I graduated from the Department of Crafts, College of Fine Arts at Chung-Ang University in Anseong, South Korea. I became interested in ceramics after taking the ceramics course, one of the required subjects, and decided on ceramics as my major.
Partly the shapes of your works remind me of the prunus vases and other shapes from your Korean heritage. But the carving patterns seem very modern …
I consider my works based on the Korean ceramic tradition but they are also couched in my own distinct idioms and aesthetic senses. I was able to create and evolve new works by encountering the cultures of the times. When working on my pieces, I try to preserve and respect traditional ceramic making techniques as much as possible, but I make forays into new things through my own research and creative practice in each process of preparing materials and making pieces. For example, I have conducted research on how to reinforce solidity and colour development by completely removing iron from preexisting white porcelain clay; on how to make thick vessels by wheel throwing; on how to sculpt a thoroughly dried vessel; and on applying glazes to dense sculptures.
In Studio with Lee Jong Min
Price: 36€ including permanent access to our archive.[/rs_feature_box]
- Gift Subscription – 6 issues for the recipient. The invoice for 58€ /US$ 65 by world surface mail, 66€/US$85 by World Air Mail will be sent to you. We dispatch the magazines on your behalf. The subscription ends automatically after one year.
- Trial subscription – 3 issues only. The subscription ends automatically after 3 issues. Prices: 3 issues for 29€/US$33 by World Surface Mail, 33€/43US$ by World Air Mail
Student Edition (verification required) is 43€/US$48 by World Surface Mail. The subscription is renewed automatically for a further year at the end each year.
Trial Subscription – 3 issues for 29€/US$33 by World Surface Mail, 33€/43US$ by World Air Mail. The subscription ends automatically after 3 issues.
Online Subscription – PDF edition, €36 a year with permanent access to our online archive. The subscription is renewed automatically for a further year at the end of each year.[/rs_section_title]
Price: 36€ including permanent access to our archive.[/rs_section_title]