New Ceramics – The International Ceramics Magazine

Current Issue – New Ceramics 6/2021

In the PROFILES section: Eight ceramic artists from New Zealand, Netherlands, Germany, Italy, USA. Coverage of EXHIBITIONS and EVENTS in Lettland, Finland, Greece, Germany, China. In the section ARTIST JOURNAL, we present Tsukasa Soda + Javana Cavorovic. And we also have interviews with artists IN STUDIO as well as listings of Dates, Courses, Seminars and Markets.

NEWS

PROFILES

Walter Auer – New Zealand
Judith Bloedjes – Netherlands
Beate Höing – Germany
Nicola Boccini – Italy
Renée Reichenbach – Germany
Tom Supensky – USA
Ricus Sebes – Germany

FORUM
ART – What craft yearns to be – Gustav Weiß – Art theory
Traditional Korean Ceramics – Yoon-Kyung Lee – History
“The Loveliest Greeks” – Hildesheim History

EXHIBITIONS / EVENTS
CREO ERGO SUM – Riga – Lettland
“PATHWAYS” – Finnish ceramics students –  Forssa – Finland
“Ceramists’ Traces” – Olympia – Greece
Contemporary Ceramics in Museums – Dessau, Ummendorf – Germany
WASTE NOT – Shanghai – China

ARTIST JOURNAL
Tsukasa Soda + Javana Cavorovic – Ting-Ju Shao – Japan / Serbien

IN STUDIO
Jane Jermyn – Evelyne Schoenmann – Interview / Developing Skills

DATES / Exhibitions / Galleries / Museums

COURSES / SEMINARS / MARKETS
ADVERTISEMENTS
PREVIEW

Excerpts

Walter Auer

Let me take you on a journey. Like the voyages of Sindbad or Marco Polo, this is not a straightforward excursion from A to B. It is a progression of discoveries. But first let me introduce you to Walter Auer, the creator of Orsolino. Walter is a man of many journeys himself – from his family home in Campo Tures, a mountainous town in Northern Italy, to Nepal via Switzerland, to Faenza, Italy, where he trained in ceramics, to Japan, where he spent a year with a family of potters, to training with a traditional Turkish potter in Cappadocia, to teaching pottery at a leper colony in Ethiopia, to his current location in Sydney, Australia, where he spends his time teaching and working with a group of feisty senior Aboriginal women and guiding them to winning several major awards.
But I’m digressing, because this is the journey of Orsolino, a small bear, and as always, it starts from somewhere completely different, with a book. Sprung from the imagination of J.G. Ballard, a sci-fi writer, The Crystal World (1966) tells the story of a doctor who discovers a mysterious phenomenon taking place deep in the jungles of Cameroon. Beginning with a single tree, the entire jungle, its plants and animals, undergo a crystallization, becoming suspended seemingly forever in the stasis of a silent, crystalline world. 

(Karen Weiss)

Walter Auer

Judith Bloedjes

Looking for interesting jewellery, I came across the work of Judith Bloedjes from Leiden (the Netherlands) on the internet three years ago. I liked the variety of her work coupled with the clear stringency of the design and the immediacy and minimalism of the style. Not only the jewellery but also the tableware and even the installations reveal a consistent, overall design principle characterised by severity and clarity, paralleled with emotion and an appeal to the senses. In recent years, the artist has attracted attention among leading museums and private collectors through her performances with her jewellery, meaning porcelain and the way she works with it are seen in a new light. In 2019, she was invited to Jingdezhen, China, as artist in residence.
For more than 25 years, the Friends of the Keramikmuseum Staufen have made it possible for up to six ceramists a year to present their work in the Studio of the Museum. The focal point of these exhibitions has always been on the vessel as an individual, one-off piece, occasionally complemented by mural pieces, prints and sculptures by the same exhibitor. These exhibitions have often included jewellery artists who use ceramic or porcelain as their primary medium. Judith Bloedjes from Leiden fits this concept in the best spirit. 

(Maria Schüly)

Judith Bloedjes

Beate Höing

In their opulence, aesthetic qualities and ornamentation, it is especially Beate Höing’s (*1966) latest large-scale, floor pieces that enthrall. However a second impulse quickly emerges, or at least a certain confusion, if not even mild resistance to the materials employed: ceramic sherds. Smashed Meissen, Limoges or Rosenthal along side broken kitsch. Who has dared to use this combination? And above all, who has dared to treat the grand tradition of porcelain so drastically and seemingly without respect?
But first things first: Beate Höing began her career in art as a painter. After studying art at the Freie Kunstakademie Rhein-Ruhr in Essen and Krefeld, even today she mainly paints small-scale oils. Based on photos from the 1970s and 80s, she brings idyllic scenes from the period of German economic miracle back to life in muted colours – living rooms with a flower vase on a patterned tablecloth, rooms laden with drapes and lace curtains, rustic-style furniture with photos and knick-knacks against a backdrop of floral wallpaper. On longer inspection, the sense of cosiness exuded by these petit-bourgeois déjà-vu interiors imperceptibly gives way to uneasiness at the cramped, overfilled spaces and subjects frozen in lifelessness.

(Gudrun Schmidt-Esters)

Beate Höing

Renée Reichenbach

In the beginning was the teapot, a functional item, wheel thrown with a body, spout, handle and lid. The design offers the artist many variations to form sculptural volume and to inscribe their own aesthetic ideas. The teapot is a sophisticated object, the crème de la crème as it were. For ceramist Renée Reichenbach from Halle, it is a concrete theme that she can play with: “You have a structure and don’t get lost in amorphous shapes or vacuous ideas. There are given things that have now become very powerful forms.” It was a long way to the “teapot” as a ceramic sculpture, requiring considerable courage. Courage to give up the wheel and to rethink forms. Spout and handle long ago lost their function. With the first handbuilt pots, Reichenbach meticulously examined if they were watertight, how they poured and how they handled. “I have simply forgotten that now. At an exhibition, someone asked me if they could use the pot and it nearly gave me a shock”, says the artist. Her teapots have individual characters. From a geometric body that stands firmly on the ground, parts reminiscent of the originally functional elements of spout or handle reach confidently into space.

(Doris Weilandt)

 

Renée Reichenbach

CREO ERGO SUM – I CREATE, THEREFORE I AM

The 21st-century art scene worldwide demonstrates a growing interest in ceramics, especially among contemporary artists. Visual art scholars describe the current renaissance of the ceramic medium by calling it “the new video” and “the taste of the decade”. Historically, the positions of ceramics have been especially strong in the Baltics. However, in recent decades, the medium has enjoyed a new and even broader resonance across the region. Each year in Latvia brings a number of major events in the ceramics domain, and ceramic works by particular authors have become a regular presence in diverse visual arts projects.
This year, to organise the 3rd Latvia Ceramics Biennale, Latvian Centre for Contemporary Ceramics and Daugavpils Mark Rothko Art Centre, in cooperation with the Museum of Decorative Arts and Design, hold CREO ERGO SUM, a vast exhibition of Baltic contemporary ceramics. The show introduces the most prominent contemporary ceramicists from the three Baltic states and reviews the current state of the ceramics domain in the context of the ever-changing conceptual frameworks of the present-day globalisation era.
The 19 featured artists from Latvia, Lithuania and Estonia have been chosen by exhibition curators. They all share the ceramic medium as their means of creative expression and possess a vibrant talent to create.

Baltic Contemporary Ceramics
Museum of Decorative
Arts and Design, Riga, Latvia
August – October, 2021

Valda Podkalne / LV, Three clouds, wood, porcelain, rope, 2020 150 x 105 x 78 cm     poto – Didzis Grodzs

PATHWAYS – Graduation exhibition of Finnish ceramics students

The two-year training course as a ceramist at the vocational college in Forssa, Finland, traditionally comes to an end with the graduation exhibition at the local Moletti Gallery. Despite circumstances being hampered by the Covid pandemic – in the final weeks before the opening, only limited working time was available on the college premises – a range of diverse and interesting works emerged that give an insight into the various areas of ceramic creativity.
The title of this year’s exhibition – Pathways – refers to the individual paths on which each of us twelve students have found our way to ceramics. After learning the basic ceramic techniques, personal preferences and focal points in working with the material soon became apparent. For the graduation show, we were able to become deeply involved with a theme of our choice.

(Tiina Nolte)

Tiina Nolte, 71.8 m. cu.mtr., paperclay, sawdust, paper

Artist Journal

Tsukasa Soda   (Japan)
Based on the senior ceramic artists introducing mass-produced industrial plaster moulds into their works in the 1970s, the younger Japanese artists have made breakthroughs in the presentation of ideas and shapes. Soda was born in 1978 in Hyogo prefecture. He graduated from the Department of Arts and Crafts, Kurashiki University of Science and the Arts, Okayama, Japan. 

Jovana Cavorovic  (Serbia)
Jovana was born in Serbia in 1985. She earned her bachelor’s and master’s degrees in ceramics at the University of Belgrade, School of Applied Arts, Ceramics Department, Serbia. After that she studied in the research programme at Ishoken, Tajimi City Pottery Design and Technical Centre in Japan under the ceramist Harumi Nakashima. 

(Ting-Ju SHAO)

  

Tsukasa Soda

Jovana Cavorovic 

In Studio with Jane Jermyn

Jane, “The long tale of clay” is one of your videos about clay, which has been used as means of creative expression for over 30,000 years. What is YOUR story with clay?

My story began when I was about 17 and saw a guy throwing on a wheel and was immediately intrigued as to how it was done. It took nearly another 30 years before I finally found out. Another life intervened, one with an artist husband and 4 children in a cottage in rural Ireland. When that phase came to an end I took myself off and began studying, first general craft, then a pottery throwing course, a ceramics BA course and finally gaining an MA in ceramics in my late 50s. Since then I have travelled extensively, nearly always to do with my ceramics journey.

(Evelyne Schoenmann)

Jane Jermyn

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