New Ceramics – The International Ceramics Magazine

Current Issue – New Ceramics 1/2024

In the PROFILES section: Eight ceramic artists from The Netherlands, Germany, Belgium, France, India. Coverage of EXHIBITIONS and EVENTS in The Netherlands, Spain, Switzerland, Japan, Poland, Denmark, Germany, Latvia, Uzbekistan. In the section ARTIST JOURNAL, we present Kaori Kurihara and Liou Chen-Chou. And we also have interviews with artists IN STUDIO as well as listings of Dates, Courses, Seminars and Markets.


Niek Hoogland – The Netherlands
Tina Bach – Germany
Nausika Raes – Belgium
Sybille Ritter – France
Martin Mindermann – Germany
Deborah Smith – India
Jan Herzog – Germany

Where would we be without clay? The Netherlands
CERCO 2023 – Spain
Swiss Ceramics Training – Switzerland
The Sodaisha Group – Japan
Anna Zamorska – Poland
Playing with Fire – Denmark
Danner Prize – Germany
Latvian Ceramics Biennale – Latvia
Ceramics & Travel – Uzbekistan II – Uzbekistan

New literature

Kaori Kurihara (Japan) and Liou Chen-Chou (Taiwan) – Ting-Ju Shao 

Ioan Iosif – Evelyne Schoenmann – Interview / Developing Skills

DATES / Exhibitions / Galleries / Museums



Niek Hoogland

There can be little doubt that Niek Hoogland (Tegelen, the Netherlands, 1953) takes great pride in his roots, cultural heritage and chosen profession. He continues to live and work just a stone’s throw from where he was born and brought up. He works with the very clay that was deposited on the river beds and floodplains literally below his feet. And he has adopted and personalised the slipware traditions he inherited from his regional forebears dating back to the seventeenth century. Yet, despite these honourable foundations, Niek Hoogland remains true to himself: he continues to develop his own distinctive style that embodies such concepts as individuality and invention that are important to him.
Clay is something Niek Hoogland has spent his entire life around. The small Dutch town of Tegelen owes its very name and existence to the clay and pottery that was dug and produced there. His father was a maintenance worker in one of the local ceramic factories and often took his son along to sit in a corner and play with the clay. His backdoor neighbour was also a potter and the boy would happily drop by to watch him at work. He remembers the smells as if it were yesterday. And trains laden with clay would shuttle back and forth from the nearby quarries. Clay was literally everywhere. So it was hardly surprising for a curious youngster to acquire an implicit understanding of the entire production process and to harbour ambitions of also becoming a potter when he left school. But this was also a time of change, brought about by competition and commercial pressures. Potteries were closing down and plastic was the new rage. Such pragmatic realities would delay Hoogland’s creative ambitions.

(Neale Williams)

Niek Hoogland

Tina Bach

This is a very old, wise insight that has made its way from generation to generation and is now also finds expression in the works of Tina Bach, visible in her ceramics, in her glass work and in the variety of other art objects. Tina Bach’s works demonstrate confidence in sampling materials, melting glass and craft-based creating with ceramic materials. In her work, she makes effective use of her experience, especially in questions of arrangement and application of fundamental creative principles.
Bach works with point, line and plane, and she designs her vessels and objects in accordance with this system, but very freely and always based on well-practised craftsmanship. And also with recourse to the forms of the vessels from ceramic history when she creates her works with a clear concept.
Tina Bach gives the surfaces of her ceramics space for independent, free development with painterly or graphic imagery using coloured clays. She transforms the clay body of her vessels into painterly canvases, overcoming formal boundaries with layers of colour set in motion. Painting with clay thus finds its ultimate form, seemingly having grown over a thousand years to become sediment in the fired shard.

(Annette Ody)



Tina Bach

Nausika Raes

You won recently the NEW CERAMICS Prize at the 2023 Oldenburg Ceramics Fair. You showed your work mostly under glass or protected by a frame. Is that a necessity or does it belong more to your artist’s statement?
It was definitely a big surprise to win this prize and it was quite overwhelming to receive this honour!
I must admit I often feel an outsider in the ceramic world with my delicate and poetic porcelain work. Even at the art academy I felt out of place as I had a more alternative and fragile approach to ceramics. There are two reasons for my work to be shown mainly under glass domes or in frames. As for the literal and practical reason: even though the porcelain is high fired and strong, a thin stem or flower can easily break.
My artistic view is the more figurative reason. I want to invite the passer by to take a closer look at the beauty and amazing details in nature. When made in porcelain, a simple wildflower suddenly becomes a piece of art. The glass gives the impression there’s something delicate that needs to be protected. I’d like to refer to our natural environment. It’s my hope that people will be encouraged to take responsibility and care for our planet and its astonishing nature.

(Monika Gass)

Nausika Raes

Martin Mindermann

Aspherical vessel is illuminated from several sources. The lights come from a great depth and enhance the intensity of the colours red, turquoise and green. A network of dark veins spreads out over them. The viewer gazes into a cosmos of ethereal matter, interpenetrating and reacting to each other like an echo. Through years of experimentation with raku, Martin Mindermann has discovered his own language. His works reveal enormous skill and experience, permitting him to define new aspects through unusual compositions of glaze colours.
Immediately after graduation from Bremen University of the Arts in the early 1990s, Mindermann decided to work with raku. He was literally playing with fire that attracted him. He plays an active part in firing and the reduction process, he decides what happens. Every firing is as unique as the result. After a few hours, he removes the pieces from the kiln, still glowing with heat, and tips sawdust over them. Flames shoot up. The molten glaze is entirely covered with burnt material. The ceramist allows the pieces to cool down completely before he retrieves his treasures, freeing them of the layer of ash. Like in mythology, beneath the burnt layer of organic matter, glazes of many colours emerge which owe their unique intricacy and lustering to the experience of their creator and the power of the flames. He says, “As the smoke takes my breath away, the glaze skin breaks up into a network of cracks that will never heal, tattooed black by the resinous pitch-smoke of the wood, later called craquelure by the viewer.”

(Doris Weilandt)

Martin Mindermann

The Sodeisha Group:
An Era Born Out of Avant-garde Ceramics

With a focus on the avant-garde ceramic arts group Sodeisha (Crawling through Mud Association), which played a central role in Japan’s ceramic world in the post-World War II period, The Sodeisha Group: An Era Born Out of Avant-garde Ceramics, explores the environment and activities contemporary with that generation.
This is the first Sodeisha exhibition to introduce its entire activities from a historical perspective. It was held at The National Museum of Modern Art, Kyoto, from 19 July to 24 September. It will travel to three other venues: The Museum of Fine Art, Gifu, Okayama Prefectural Museum of Art, and Musée Tomo in Tokyo.
After the dissolution of its predecessor Seinen Sakutoka Shudan (Young Pottery Making Collective), Sodeisha was formed in 1948 by five ceramists: Kazuo Yagi, Hikaru Yamada, Osamu Suzuki, Tetsuo Kano, and Yoshisuke Matsui, all of whom were active in the Gojo-zaka area of Kyoto, the centre of kyo-yaki, Kyoto ceramics. The name “Sodeisha” (lit. “Crawling through Mud Association”) is derived from kyu-in sodei mon (lit. “earthworm running mud pattern”), a term found in a Chinese book written by Xu Zhiheng in Qing Dynasty and propagated by the Gojozaka-based calligrapher Ayamura Tan’en, which refers to a pattern seen in some Jun-yao glaze that closely resembles the paths earthworms leave in mud.
Kano and Matsui withdrew from the group the following year, but Sodeisha continued to lead the Japanese ceramic art world for 50 years, with the ranks of members growing and shrinking. The group contributed significantly to the public’s recognition of a new form of expression, ceramic art objects.

(Tomohiro Daicho)

Osamu Suzuki, Work, 1954
28.3 × 31.5 × (h)34.3 cm, private collection

2023 Danner Prize

The ceramics of the 2023 Danner Prize
An exhibition by the Danner Foundation in collaboration with the museums of the city of Landshut from 12 October 2023 – 28 January 2024.
Modern, top-class craftsmanship presented in historical church architecture – the exhibition on the occasion of the 14th Danner Prize at the Heiliggeistkirche in Landshut moves in a special force field: the demanding, dominant environment of the late Gothic church demands attention and at the same time the individual handcrafted objects are given the freedom to assert themselves individually. The main colour in the church’s star vault – a rich, almost orange yellow – is consciously taken up in showcases, pedestals and an extra light installation. The strong colour creates a unifying framework.
In order to further emphasize the austerity and symmetry of the church building, the table display cases in the apse are arranged in a strict semicircle behind the altar, which still exists.
To accentuate the central axis, a specially designed light beam illuminates a series of presentation tables along this central line.
Since the Gothic windows in the Heiliggeistkirche no longer have their original colours, the exhibition concept creates a bridge to the traditional use of light in the Gothic period.

Doris Leuschner, sculpture, Where have all the colors gone?, 2021, porcelain, shibori technique., handbuilt, l 26 x w 12 x h 7 cm

Exploring the Ceramic Culture
in Transoxiana, Central Asia – part II

The American/Chinese ceramist Guangzhen Zhou travels the ceramic world to put material together for his planned book. In two issues we accompany him on his tour through Transoxiana.

One day tour in Bukhara
The high-speed train from Samarkand to Bukhara took less than two hours. I spent the time chatting with a fellow passenger, a young man who ended up inviting me to take a photo together with him. The locals seemed to be very friendly, and there was no sense of awkwardness during the journey. I had planned to find a hotel on the map after arriving at the railway station, but after I walked out of Bukhara railway station, I found that my smartphone had no signal at all. Unable to pull up any information, my maps application was completely blank. I began to fear being completely cut off from the rest of the world during the four remaining days of my trip. I needed to hire a driver for the day.
The driver I began talking to was named Farrux and could only speak a little English. He charged $10 from the railway station to the old city center, and an additional $45 to visit five scenic spots in half a day, which I accepted. He asked me about my occupation, and I gave him my postcard with a “world ceramic culture map” printed on it. He smiled in understanding. Once again, this postcard had become a useful pass for me.

(Guangzhen Zhou)

Alisher Nazirov

Artist Journal

Kaori Kurihara  – Japan
Kaori Kurihara (1987) was fascinated by durian fruits during her first encounter with them. Later, she realized that the visual attraction was due to its natural arrangement in the golden ratio.
After graduating from the Kyoto Seika University in Japan, Kurihara chose to study in Paris. Failing to find a suitable ceramics college, she switched to study jewellery design. In 2015, however, she received the Prix de la Jeune Création Métiers d’Art from Ateliers d’Art de France. The unexpected recognition encouraged her to return to ceramics.

Liou, Chen-Chou – Taiwan
Liou, Chen-Chou (born 1951) graduated from the Department of Arts and Crafts, National Taiwan Academy of Arts, in 1980, and entered the Master’s Programme in Ceramic Art at Kyoto University of the Arts in 1981. After returning to Taiwan, he held a series of positions, including Chair of the Craft & Design Department, Director of the Master Class of Plastic Art, and Dean of the College of Design at National Taiwan University of Arts. Liu has a serene and calm personality. He always greeted young students kindly with a smile. His works are simple yet profound.

(Ting-Ju SHAO)

Kaori Kurihara – Japan

Liou, Chen-Chou – Taiwan

In Studio with Ioan Iosif

Ioan, first of all: my sincere congra-tulations on being accepted into the International Academy of Ceramics IAC/AIC! There’s a story behind your application…
Dear Evelyne, thank you very much, I feel honoured to be a member of the IAC/ AIC! Indeed, there is a story… I usually set some goals in the beginning of every year. In 2023, taking in consideration that I was turning 30 years old, I proposed to myself to do something significant for my artistic career. That was becoming an IAC/ AIC member.
I have been in contact with a few IAC/ AIC members since 2017, when the 3rd edition of International Cluj Ceramics Biennale took place in my city. I was also a participant and got the chance of having conversations with some of participant IAC members. They impressed me during their work-presentations. Later they also offered me support by helping to find a place where I could do an internship via Erasmus+ in Germany. I consider it is important to be part of a community/organisation that shares same goals and offers support. At the same time, it is a prestigious Academy with an important international resonance. I was very happy when I was accepted as one of its members.

I like to start my interviews with the question about the education and training of my guests. What is yours?
When it comes to ceramics, I could say that my first significant contact with the material was during the 3rd and 4th year of highschool, which were the years of specialisation at the Romulus Ladea Visual Arts Highschool of Cluj-Napoca, Romania. Then I studied ceramics (Bachelor and Master of Arts) from 2013 till 2018 at the University of Art and Design in the same city.

(Evelyne Schoenmann)

Ioan Iosif