an International Ceramic Symposium to celebrate the 40th anniversary of the International Ceramic Studio.

Invited artists include:


At the centre of Fusz György’s figurative sculpture is the tension between thoughtful introspection and powerful expression. With a presence that can be felt Fusz transmits his inner observations to awaken and provoke. Fusz makes sculptures that give him more freedom in the shaping of the human form with their characteristic, exciting surface gestures but still it is the inner soul that interests him.


My work is focused on the human figure, in various contexts, such as the instrument of soul, the portrait as a reflection of our everyday life, organic form, as nature itself. I convert the visual and digital worlds by direct screen printing technique to my works, so enhancing the form and expression this way.

Portraits - china portraits - as my diaries - for decades I have experimented to express my own personality in simple, concentrated "minimal art" form. These figures I imagine living in the landscape, hiding in a bush, lying in the grass, standing in water. In the exhibition hall, on plinths, I see a dissonant phenomenon. That's why I tried to put them on ceramic "stones" or to build half of them in stone-forms - so that they may return to nature even in these sterile surroundings.

I am from Eastern Europe, the daughter of a ideological and social experiment gone wrong - socialism. Having graduated at the College of Applied Art's in Budapest, I started to work as designer in a pure, neglected "out of the world" ceramic factory. But what a factory? From this time on I started to feel the smoke of the cooling towers, the lines of the factory's broken windows, the conveyer belts, the women metal-workers with their varicose legs, the electricity centers, the crane-cemetery and the loneliness of the huge, badly lit factory halls. The poles, the bottom of aeroplanes, the sky red from poisonous gas, had a special meaning for me. I started to photograph these impressions and transfered them onto the clay by silkscreen print. I formed and crumpled them together with the material. I was lead by two feelings: adoration and horror. Admiration and appreciation at the sight of human spirit and technique and fear and anxiety at the sight of those huge, isolated, creaking steel plants. What will the future hold?


Jun Kaneko makes ceramic works that have a unique Eastern and Western sensibility. This comes from his rich cultural heritage and the academic training through study with one of the masters of American ceramics, Peter Voulkos. Kaneko was born and raised in Japan. He came to the United States to study ceramics at the University of California-Berkeley with Peter Voulkos. Voulkos was recognized as having brought a strong Modernist influence to the field of ceramics; prior to the middle of the twentieth century, people who worked in clay were “potters” and made functional pottery, such as vessels, bowls, cups, etc. Voulkos changed all of this by bringing the ideas and methods of Modern artists of the post-war era to the ceramic field.

Initially not able to speak the language, he was forced to focus purely on the visual. His painting background is evident in his work, where his monolithic ceramic “dangos” become three-dimensional, inflated canvases, working primarily with graphic, yet painterly, lines and dots.

From this Japanese background, Kaneko draws on Shinto philosophy and it is this realm that his Eastern influences manifest themselves. Kaneko refers to a “spiritual scale” that works of art possess. This scale is not tied to form or function, but based on the idea that scale is relational interaction occurring between that work and the viewer. The Shinto concept of ma translates as spirit in English and Kaneko has emphasized an intuitive “attachment through space”; the interactive ma defines the relationship of the viewer to the work of art, as well as the space around a work and the integration of form and surface decoration. The “dango” form is simple (dango is the Japanese word for dumpling).

The drawing on and painterly handling of the surface is derived from Western abstract painting. The static, monolithic form and the active surface reconciles two opposing aesthetics, also a very philosophical, Eastern concept.


The path that leads to the teahouse is integral part of Japanese Zen Tea Ceremonies. Troddding the uneven stepping stones and curves of the path inclines us to take every step consciously. This concentration dissolves our thoughts entirely and enables us to enter the teahouse with a cleared mind. I wish that the time people spend observing my objects would turn into such meditation.

It is good to sit down a while, stirring a tea. She is soon to start fetching the kids from school. The daily paper lies in the middle of the table. She gets a four-sided dice, asking: what is the message of the Board? “It offers an opportunity to concentrate my attention to the attitude of what the dice gives, along the situations occurring this day. ‘Patience’ is today’s result.

Earlier I made a 2×2 m size twin of this object. You can hit words by throwing pillows. I collected 64 words, that you can only hear rarely: road, virtue, delicacy, gratitude, responsibility . . . The visitor could ask the oracle and receive guidance on a given life situation.

It was a pleasure to look how the people use this object, somebody threw with closed eyes, others studied the table before throwing. One tried to take a sight on a selected square; the other threw backward over his shoulder.

I like to produce objects, which call the viewer to cooperate. These can be interpreted if you throw something towards them, if you rotate an element, peeking inside or even patting. It is definite what you can do with them.

Recently I want to show the different moods how we can connect with each other in a relationship. The spectator according to his/her mood of that day can fit this sculpture, interpretable as a yin-yang motif.

At the Normafa (a forest in the Budapest mountains) I took imprints of the texts and motifs engraved into the trees. These healed wounds convey us the authentic history. They sneak on X and Y, trumpeting the eternal desires of teenagers. I took imprints from trees, marked with red marks, and designed to cut off. Long ago I heard a lecture, where the reader somewhat blunty asserted that there is no accidents but we are just immature.


Sandor kecskemeti's work derives its power from the clarity of his vision. a clarity based on his particular sensitivity to the materials he exploits. In this sense he is certainly a leading figure in the rise of ceramic sculpture in Europe.

"His best pieces are a synthesis of technical, formal, aesthetic and intellectual elements which goes beyond the sum total of these parts. He is an artist who is exploiting as his primes medium the versatility of ceramic to develop and express his ideas". - Michael Flynn



Once, the earth was flat and there was an earth plane myth considered for the end of the ground to be a waterfall of the sea in a cliff. However, the earth is round and the horizon continues forever. We understand and see the horizon on logic in the sea. We had once created the form, which was embodied with our dream and fear from the flat horizon. I try to image again the form of the earth with our dream like ancient time.

Through the action of making my artwork, a form is created and the material with some details is made.The details are expressed out of the interior structure of forms.It seems to appear like the plant surviving in the naked state of cellular group with protective cuticle being stripped off. The collective cellular system, which is necessary for life support, appears to be exposed. I try to change the image of daily necessities with the mold using various ceramic materials and techniques.An ordinary product becomes a specific object with ceramic details.The feel of material creates a space with sense of touch and vision.

Since 1950's, the ceramic art has not limit its media just to vessels or something with function, rather it has extended to various creative expressions, carrying the feeling of texture, or purification of technique. The material, the technique and the process are turning to ceramic art. I think they play an important role in ceramic art with contemporary vision.


The creations of Nicolae Moldovan, essentially a minimalist ceramic sculptor is unique in Romania. From tiles or clay, his generous shapes capture through the clarity and simplicity of the volume through the austere colours. Strong, warm and precious, sometimes imprinted with harsh elements like metal, his forms appear to be born naturally.

Many of his works feel monumental and cry out to be built for public spaces. You look and want them located somewhere on the green lawn, or you imagine them with oversized architecture to stimulte contemplation.


Yuriy Musatov is a ceramist from the younger generation, but has already established himself as the professional and worthwhile representative of the contemporary Ukrainian artistic ceramics. He reconsiders the traditional ways of working with ceramic. His creative works exist beyond the familiar categories or kinds of art – easel sculpture, interior ceramic. His objects are autonomic and self-sufficient in the artistic field. In his creative work he reconsiders the avant-garde art beginning XX century.

The artist applies the question of integrity of the person in the post-industrial society. The illusiveness of the modern world is represented in Musatov’s works, by the dreamy and subtle constructions, tender as lace, interweaving of the ceramic parts.

Born in 1981, in Konotop of Sumy Region, Ukraine. In 2008 he graduated from Lviv National Academy of Arts, Faculty of Decorative and Applied Art, Department of Art Ceramics.


Contrasts are important in her work. She uses coarse stoneware alongside refined porcelain. The subtle colour combinations are extremely personal, in terms of the colour in combination with the gloss of the porcelain or with the rough skin of stoneware, as well as the visual use of scratches or cracks in the porcelain. She utilises a great diversity of visual means and a very personal perception of nature. Yet the work is a completely own field which has not become lodged in a personal diary note. Her life experiences have been rendered so abstract that everyone can recognise their own version of the story.

Nagy’s work is characterized by the great variety of topic choice. She starts with one motif, works with it for a year or two, then sets it aside in favor of a new topic, on which she conducts intense expeiments, only to switch again a while later, or return to an earlier theme, this time emphasizing different relationships. Her career resembles a multiple spiral, in which the arcs are predictable to a certain extent, yet often incur a change where it is not apparent until after retrospective analysis from several years’ distance how the change fits organically into the system as a whole.


János Probstner, graphic artist, ceramist and writer founded the International Ceramics Studio in 1977 and until 2011 was its director.

During his time as leader his determination and drive has created one of the world's leading ceramic centres which still thrives 40 years after its inception.

In 2014 he was awarded the prestigious EU Citizens' Prize, given for exceptional achievements in the activities or actions by citizens, groups, associations or organisations having displayed an outstanding commitment to promoting better mutual understanding and closer integration between citizens of the Member States; or to facilitating cross-border or transnational cooperation within the European Union.

He has participated in many exhibition in Hungary and abroad including France, Iceland, United Kingdom, India and Japan.


While working on my recent project 'Dolok' I was most interested in the simplicity of form, monochromatic palette, and surface; searching for the very origins of sculpture and architecture.This simple, massive form was hand build with
local stoneware clay and fired in 1300c in Tongkama woodfired style kiln in Luboradow (Poland)

Michal Puszczynski Ph.D is associate professor at Eugeniusz Geppert
Academy of Art and Design in Wrocław, Faculty of Ceramics Department of Ceramic and Glass and since 2006 is the main coordinator and project founder of the Center for Ceramics Arts in Luboradow.


A strong influence exists within my practice reflecting my classical gymnasium education: learning antique languages lead to keenness on the context of everyday objects of an ancient past, the architecture and culture that they accompanied. I try to see myself as a maker with similar sensibilities to those of craftsmen and draftsmen of bygone eras.

I relish the immersion into different cultures, lifestyles, and social networks, all the while learning more about traditional and contemporary ceramic art. I find myself more attentive to nuances. I am thrilled by the poetry of my everyday life. At the core of my practice is subtle imagery, like the ageing of architecture where rigid things are softened with the touch of time, the antiquated objects of past that we no loner remember how to use, and uncertain rituals, preformed by unknowable participants. In my practice I evade tacking any narrative to my work, letting myself work intuitively using my aesthetic preferences and tacit knowledge. In my work I animate minimalist constructivist architectural forms.

I seek to avoid direct, narrow, or exact images or symbols. I base my artwork on poly-cultural signs, such as house, body, and ritual objects. I come to them through research on various cultures and always bear in mind their reflection on my own reality, my everyday life. This way every artwork has a personal meaning for me, but I prefer it to be a more ambiguous experience for the viewer, leaving open the possibility of variability in the interpretation of the work.


Ilona Romule is a studio artist from Riga, Latvia and has received international recognition with her slip cast porcelain figures examining the figure as a hollow vessel which through exquisite painting that is simultaneously two- & three-dimensional. Her human or animal figures are at the same time meticulously drawn on the sides of her pots meanwhile partially emerging from those pots as three-dimensional forms.

Ilona is known for her use of ironic and erotic imagery both in the form of her fine porcelain pieces and also in the surface decoration with the china paints. In ceramics Ilona is interested in the opportunity of three dimensional expression, using the scope of graphics and painting.

Traditionally she works with porcelain. Ilona supplements her sculptural works with fine painting in overglaze technique, thus developing plastically expressive compositions, participated by human, animal and peculiar hybrid figures. In the motives chosen by the artist, figures settle in form and material in the game of symbols and character situations.



My life is movement.

If somebody watches me during sculpturing he or she says it looks like massage or a dance with clay.

When I teach movement or I do movement, I feel like sculpturing with the space around me. To press, to release, to form. My paintings, drawings and sculptures are movement studies without real forms. I didn’t want to catch the forms but the process of forming. Not the fruit or the flower, which are always changing and growing but the growth and change itself, which will form the material once. The movements in the drawings, sculptures and paintings rather touch the material than really form it. They are coming and suddenly disappearing.

I am trying to reserve the experience of easy and light forming before stucking in material.


He started his studies at the István Tömörkény Art School of Szeged, then graduated in the Ceramics of the Hungarian Academy of Applied Arts in 1977 with a Gorka Award. His master was Árpád Csekovszky. Between 1977-1979 he taught at the Hungarian Academy of Applied Arts and from 1979 to 1981 was the technical leader at the International Ceramics Studio in Kecskemét. From 1986 he graduated from the Academy of Fine Arts and Applied Arts in Budapest.

In his cast porcelain sculptures he creates tension with regular and irregular structures, intact and disrupted forms and surfaces.

He also designs functional items, including street furniture.


Vladimir Tsivin's approach to ceramic sculpture is largely based upon the traditions of Egyptian and archaic Greek sculpture. His simple sculptural pieces are based upon a reinterpretation of figurative forms. The shape of the body is subtlety rather than explicitly expressed.

The subject of the work and its form achieve a precarious balance. The human torso seems to push itself out of the material itself. His inspiration comes both from the natural world and from the history of art. He is aware of the changeability effected by the angle of sunlight on his work - recalling ancient sculpture, where the sun’s angle plays a graphic role, accentuating the subtle gesture of the form.

Czech Republic

Jindra Vikova belongs to a generation of artists who found new techniques and expressive possibilities in ceramic art in the 1970S. To Vikova that meant above all the chance to connect painting and objects and at the same time to find unusual uses for materials. From the beginning she has been interested in motifs featuring figures, and her work combines a surrealistic imagination and Dadaist games.

If we follow Jindra Vikova’s work over time it is clear that she has always sought the most economical and simplest form of expression. In the 1980s she produced symbolic heads and faces. Their secondary attributes are in some cases intensified by painting. Her works become a metaphor for human actions.

Of the artist’s work in the 1990s, her porcelain heads are the most important. Thin, as if cut from paper, they absorb only the light surrounding them and create their own poetry. The 1990s indeed were full of other new approaches. Her torsos are full of disquieting secrets and transformations. At the turn of the old and new millennia Jindra Vikova has surprisingly come out with many new works which appeal to us by force of their intimate human character and the form of the installation. During the same period she has also created a series of human figures, most of them in curled up positions, accompanied by real objects. Like a measure of fate between the living and the non-living, the contrast of a borderline.



The fantastic process of materializing the idea through a final work always fascinated me and pushed me to be curious and to go on. In my work I have passed through changes and different phases.

Lately, for some period now the pictorial problems I have been trying to solve are to unify form with illusion painted parts, or to unify the solid part of sculpture with more fragile ones into the unique shape. This approach asks rational advance planing of construction and concentration to imagine how, many different separately made parts or painted parts, are going to look like once joined together.

I enjoy to play with our perception, pose absurd riddles.

Is that what we see or is it skillful illusion?








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