In the PROFILES section: 9 ceramic artists from Netherlands, Romania, UK, USA, Germany. Coverage of EXHIBITIONS and EVENTS in Italy, Australia, Germany, Greece, Italy, Switzerland, Denmark . In the section ARTIST JOURNAL, we present Sayaka Shingu and Shiyuan Xu. And we also have interviews with artists IN STUDIO as well as listings of Dates, Courses, Seminars and Markets.
NEWS
PROFILES
Job Heykamp – Netherlands
Irene Vonck – Netherlands
George Dragomir – Romania
Florian Gadsby – UK
Judith de Vries – Netherlands
Wietske van Leeuwen – Netherlands
Rick Dilllingham – USA
Silke Wellmeier – Germany
EXHIBITIONS / EVENTS
Gio Ponti im MIC – Faenza – Italy
Portoni Aperti – Nove – Italy
Clay Gulgong 2024 – Gulgong – Australia
KINTEI Sense – Frankfurt – Germany
100 Years of Werkstatt Margaretenhöhe – Essen / Düsseldorf – Germany
1st Biennale of Contemporary Ceramics – Santorini – Greece
Bei Ming in Rome – Rome – Italy
EXPONATE – Höhr-Grenzhausen – Germany
Parcours Céramique Carougeois – Carouge – Switzerland
PIECES – Aarhus – Denmark
Conditional Freedom – Geneva – Switzerland
Welcome to the Jungle – Frechen – Germany
BOOKS
New literature
ARTIST JOURNAL
Sayaka Shingu (Japan) and Shiyuan Xu (China) – Ting-Ju Shao
IN STUDIO
Evelyne Schoenmann – Monika Gass – Interview / Developing Skills
DATES / Exhibitions / Galleries / Museums
COURSES / SEMINARS / MARKETS
ADVERTISEMENTS
PREVIEW
More than twenty years ago I wrote an article on Irene Vonck’s work for Ceramics Monthly (USA ); I called it Dialogue with Clay. She had told me then, “I love, respect, and understand clay.” I was much impressed with her work and her manner of working.
Twenty plus years later, both of us having spent a lifetime in clay, were once more talking about having a personal language and freedom, but also the technical and practical confines of working with clay.
Irene was born in Dublin, Ireland, in 1952 to Dutch parents, and grew up in England. She studied at Falmouth School of Art, then Brighton Polytechnic, and finally at the Rietveld Academy in Amsterdam.
All these very different institutions gave her something, but she realized that she had a strong will that pushed her to find her own path, a spontaneous, instinctive way of working, ignoring the restrictions, accepting and capturing the dynamism of the flow between the clay and her energy.
Irene begins her pieces with soft clay that has been pugmilled twice, this is in order to obtain and show the plasticity, the clayness, the essence of the material. She uses the Vingerling K123, fine grogged stoneware clay, or red terracotta stoneware, also finely grogged. Her pieces are easily 60 cm high, 70 cm long and weigh up to 35 or 40 kg.
(Nesrin During)
Irene Vonck
Fragile. That is the first word that comes to mind when describing the work of Judith de Vries. Thin, colourful porcelain shapes, resembling butterfly wings and petals. Layered on top of each other or side by side, seamlessly built on a thrown base. (Mels Boom, 2016)
Judith de Vries has been working in porcelain for the last 40 years in her studio in Amsterdam. She has developed a distinctive style, easily recognized.
Most of her vessels are decorative and not meant to be used: “I think the vessel, (bowl or vase form) with its rim as a boundary between inside and outside, is a beautiful shape in which to express my ideas.”
Inspiration
Her work in porcelain clay combines her love of nature and her love of colourful patterns.
”Judith has her sources of inspiration right next door: the residents of Artis, the zoo in Amsterdam, are her neighbours. While she is inspired by the designs, patterns and colours of the fish, butterflies and birds, she is intrigued to find patterns she has made in her studio recur in the skins of animals. Perhaps they borrow ideas mutually, for Judith thinks that “sometimes it feels like getting a glimpse of the mystery of nature.” (Mels Boom, 2016)
(Judith de Vries / Mels Boom)
Judith de Vries
Who is not familiar with them: the allegorical paintings of the Milanese mannerist Giussepe Arcimboldo (1527-1595). They are portraits – “en face” and “en profile” – each decorated with an abundance of vegetables, cereals, fruit, flowers, animals, fish, books, baskets, tools and the like. His eccentric work was highly valued in imperial and royal circles and found its way into the art collections and cabinets of curiosities of the Habsburg emperors (Ferdinand I, Maximilian II and Rudolf II). The collages were a welcome addition to natural history collections. Natural products are often subject to decay and, if painted, could also be included in such collections for the long term. All of this as a counterpart to the “artificialia” – collections of art objects.
Wietske van Leeuwen (Rotterdam 1965) has been making three-dimensional ceramic assemblages for over 30 years. She is not concerned with formless clay. She first has to press shapes in plaster moulds before she can really get started. She uses the stems of roemer wine glasses, seashells, snail shells, lemons and bell peppers, among other things, but also wound ropes and the stems of weeds such as hogweed. The objects, which emerge in series from grouping and stacking, are without exception boxes, bowls, bottles, candlesticks and tall lidded jars. For her objects, she uses a harvest of objects from her immediate surroundings. “The elements that I choose are always shapes that I have been working with for some time, like the artichoke from my allotment garden.
(Thimo te Duits)
Wietske van Leeuwen
From craft potter to artist – from artist to politician – an unusual career path. What has motivated you?
While I was training as a potter in my home town, a teacher at the vocational school encouraged me to apply for an art degree at the IKKG. Without this impetus, I probably would not have believed myself capable of pursuing an artistic career as my environment was heavily craft-orientated. During my studies, I discovered my passion for porcelain and handbuilding, which I have remained true to to this day.
The decision to get involved in politics in 2019 resulted directly from my artistic work. In my various series, I devote myself to specific topics, always from the position of an observer, trying to perceive my environment in a different way and to depict certain details precisely. I understand “depicting” in the literal sense: I recreate, with material and my hands.
From these artistic observations, the question arose in me of what I could actively contribute to the “time of great acceleration” in addition to my art. This is how my political involvement began. Today I do both in parallel, which is not always easy, but is an enriching addition, especially because of the different demands of both activities.
Could you say a bit more about how you work, how you implement your themes?
In my work, it is often details that I transfer, for instance in the series Grascolors. The title already suggests that I am working with coloured porcelain to recreate the different colour nuances of drying grass.
(Monika Gass)
Silke Wellmeier
From 8 – 10 September, Nove was transformed into the “European Capital of Ceramics”. The historical sites of ancient ceramic art were rejuvenated, engaging in dialogue with artists and artisans from around the world. The 26th Ceramics Festival and Open Doors presented a rich programme of exhibitions and events: exhibitions in the city’s historic venues and museums, open factory tours, guided visits, educational workshops for children, demonstrations, workshops, conferences and themed gatherings. The Civic Museum of Ceramics in Nove welcomed the public with free admission. In addition to the permanent exhibition, visitors could admire rare and never shown 18th-century ceramics from Nove at The Never Seen 2 exhibition. Moreover, the ground floor showcased the New Acquisitions exhibition, featuring 17 works by Candido Fior, Pompeo Pianezzola, Antonio Riello, Cesare Sartori, Alberto Scodro and Alessio Tasca. These works were acquired for the Museum’s permanent collection through a project that won a grant from the Ministry of Culture.
The magnificent rooms of the Baccin-Zanolli-Sebellin BiblioMuseo engaged in a narrative cherished by the people of Nove, presenting Poloniato/Polloniato – a Family of Ceramists in Nove. This exhibition pays homage to the Poloniato and Polloniato families through a selection of works showcasing their century-long contribution to the artisan field.
(Alessandro Bertoncello )
The pottery bike, ARGI-Bike, by Thomas Benirschke and Davide Brini in front of Nove Civic Museum of Ceramics
The Parcours Céramique Carougeois is celebrating its 35th anniversary this year. The secret to its longevity lies in the passion that drives those involved in this biennial event and in their enthusiasm for contemporary ceramics. From 14 – 22 September, more than 20 artists from eight countries will be exhibiting works that testify to the unlimited richness of this medium. This year’s theme is the clay as a vehicle for messages and interpretations of the world.
For the 18th time in 35 years, the streets, stalls, and galleries of Carouge (Geneva, Switzerland) will be transformed – from 14 to 22 September – into a vast showcase of contemporary ceramics. While the Parcours Céramique Carougeois (PCC) has preserved its local, convivial spirit over the decades, this event is now playing in the big league. “There are other biennials of contemporary ceramics today“, Emilie Fargues, head of the Bruckner Foundation, which organises the PCC points out. “But this is one of the first of its kind to be held in Europe. It has been emulated.”
For Frédéric Bodet, independent curator and former curator of the National Ceramic Museum of Sèvres, who is the associate curator for this 18th edition, “The PCC is a springboard that is observed from abroad. They see who exhibits there and who wins prizes. The public discovers new ways of practising ceramics, while collectors spot emerging artists.”
Thibaut Renoulet at Catherine Schmeer
Welcome to the Jungle! is an exhibition that approaches the central theme of the human condition from various angles. The “jungle” serves as a powerful metaphor for the impenetrable web that constantly questions the conditions and circumstances of being human. The exhibition focuses on female artists who illuminate this topic with their unique artistic perspectives. Their ceramic works embody the fragile beauty, but also the strength that lies in the relationship between humankind and nature.
Exhibition at the Keramion
Welcome to the Jungle
Exhibition runs until 29 Septemer 2024
Museum Keramion
Bonnstraße 12, 50226 Frechen, Germany
www.keramion.de
@keramion
www.facebook.com/keramionkeramikmuseum
Isa van Lier, Walking Island, 2023
Sayaka Shingu – Japan
Sayaka Shingu (b. 1979) held a flower that appeared familiar yet existed only in her imagination. It radiated elegance and wildness, with stamens sturdy as grass bending under a swift wind, overlapping yet steadfast. Every petal freely stretched and curled. Childhood memories of feathers, soft clay and fading flowers became the materials and vivid images in her works. The artist employed black, white and gray as her primary colours, as if the images were black-and-white pictures from her mind.
“When I observe flowers, I cannot help but be in awe of the cycle of life that connects this life to the next. I feel that simply imitating the flower is not enough to express what is important to me, so I mix my feelings with the actual shape of the flower to create the form.
Shiyuan Xu – China
Gazing upon the world with a panoramic view is customary, yet “each grain of sand, a universe; each flower, a paradise” captures the essence of Shiyuan Xu’s microscopic portrayal of nature through her work. Xu’s sculptures transcend common visual impressions of botanical realms, blending the vitality of cosmic molecules with intricate structures.
Shiyuan Xu (b. 1989) received a BA in Ceramics from China Academy of Art and an MFA from Arizona State University. Her inspiration stems from research into microorganisms, focusing on exploring their structures and delving into their growth, expansion, and decay. Using a microscope, she observes seeds, cells, and fungi, collaborating with life science professors at ASU to analyse samples using a Scanning Electron Microscope.
(Ting-Ju SHAO)
Sayaka Shingu – Japan
Shiyuan Xu – China
Evelyne, we have known each other for a long time – through New Ceramics and the AIC/IAC – but through your ceramics too. But ceramics was not your first calling. How did you become involved with clay?
Your question is apt, Monika. Before I became a ceramist, I was a pianist. So I was working with sounds – before I became a ceramist. For personal reasons, I had to stop playing the piano, and working with clay was initially therapy for me. It became a passion that took me all over the world. I can’t imagine a life without clay – nor without music, without the sounds.
Your ceramics are characterized by clay as a material with an earthy character, often with smoked surfaces, more cultic than simple… I would describe them as spiritually defined – created under the influence of other cultures. Have your travels inspired you to do this, or has that always been a focus for you?
Definitely the many trips to Southeast Asia. Korea, Japan and Taiwan have greatly inspired and influenced my work. I am thinking in particular of the rituals present in everyday life, the traditions in these countries, the connection with ancestors in religion. For me there is nothing more beautiful than sitting on a bench in a temple and just being. I would also like to mention the traditional architecture prevalent in Asian countries as a source of inspiration, both the typical wooden houses in the countryside, as well as the landscaping that arises through rice and tea plantations, or the temple complexes and their temple gardens. And of course the traditional clothing, which is a work of art in itself.
(Monika Gass)
Evelyne Schoenmann
