the 2018 International Ceramic Symposium organised by the International Ceramic Studio in collaboration with the Foundation for Contemporary Ceramics (KKA) Hungary and financed by the Hungarian Cultural Fund (NKA).

Invited artists include:


My artistic activity, is a practice to maintain my mind. My creations are generated from intuitions, inner dispositions, personal life events, and the possibilities provided by the material. I like it when the form reflects the processes that were aimed to creating it, but sometimes I prefer the aesthetic values that arise from inconvenience and randomness. I try to deal consciously with the archetypes and the cultural embeddedness of my profession. I like to play with the clusters of evergreen associations that are related to ceramic objects. The belief that these can be disturbed, and re-interpreted, gives the motivation for my work.

My new work dissolves the borders between art and design.

“Bright deflates” are a series of sculptures with a gentle lighting function. Thanks to the combination of paper and porcelain, I builds thin, flexible and transparent porcelain shapes. My works are deceptive, uninitiated eyes can see them as paper. Through sags, folds and bends of the fired objects, we can see the pliable nature of the material. There is a conflict between the apparent and rational explanation of the spectacle. The personal motivation for the shaping of the objects is formed by the formal and qualitative changes experienced on my own body. These are related to the subject of pregnancy. In their totality, they show a kind of inertness mood, which is loosened by the positive associations created by the light inside them.



Embroidery is closely related to the tradition and history of women's work, which I found partly consciously, partly instinctively, due to my life situation.

The processing of embroidery as a porcelain decoration-digitized after use of a sticker in technique and plaster-reinforced relief, involves the literal succession of porcelain. The embroidery's structure, plasticity and the brilliance of the technique fascinate.

I work with two basic forms, one based on the traditions of porcelain formation, while the other is a partially contradictory straight oval shaped. Embroidery requires a breakthrough in porcelain. One of the breakthroughs is figurative, drawing on popular 18th century European porcelains. In the other group, the geometric drawing breaks the vessel into perforated tissue.


Diana Butucariu, from Bucharest currently living in Stockholm, artist in general, ceramicist and illustrator in particular. ​ In my artistic practice I work with sculptural objects where different techniques from the craft fields are brought together. A mixture of textures, materials and techniques activates the senses and accentuates the fine line between a present act and a forgotten movement. The dramatic character of my art-works draws the viewer into a dialogue about social differences and identities, cultural collapses and traditional remains.

Norm can be oppressive, dictating personal behavior and punishing deviations. In other cases the normative may be elusive and hard to grasp. Transplanting yourself to a new country implies trading a set of intuitive “rules” for new ones, which are largely unknown, and rarely defined for you in clear terms. Migration is a revolutionary act on a personal, psychological level. It gives an unimaginable freedom from the set of norms and cultural memes of the ancestral culture. Since moving in Sweden in 2012, my artistic work has been dealing with the gains and losses of this transition. Of culture shock, nostalgia and confused impressions of my new country.




After studying Architecture, Sculpture and Ceramics and having spent several years working in an architecture studio in Barcelona, I established my first ceramic studio and workshop in Barcelona in 2009. In 2014 I moved to Vic where I now live and work.

I strive to make people appreciate ceramic objects and sculptures and I believe that working in ceramics is a captivating form of art with potential to unleash creativity.


I always liked geometric forms but at the same time also organic ones too. I’d never have thought that one day I’ll make these two ways together in the same work, but I did and it felt really pleasing.

These new works – begun on my Masters Diploma, move between the boundaries of art, design and psychology.

"Complicated souls” are the series of porcelain, hand built scupltures. The works are made of six different elements which are like a family. I love the fact that they are related to each other like brothers and sisters, but within one artwork.

This togetherness symbolises the soul of a human being. Sometimes we feel ourself dark, down and low, but on the other side, we are happy, cheerful and balanced. Our mood is always changing and we show our distinct sides. That’s how we are working, how we express ourselves because we are all react on an emotional level to everything.

We can never seperate emotions and thoughts, they are what creates the person, together.


DesignLubloy is a designstudio which concentrates on usefull objects in glass, porcelain and ceramic. Zoltan Lubloy is the founder who finished his studies at Moholy-Nagy University of Art & Design Budapest and works as a freelancer in ceramic field & as a lecturer as well.

His imagination can be described as a mixture of art & design, but all of his works has a special taste and glamorous look. As a porcelain designer he creates tablewares and home accesorries, he prefers high quality and uniqueness and some humour at the same time. He creates the objects in small scale, like studio editions, so he produces in Hungary. Usually all object are made from porcelain or stoneware, because this quality last longer and this is a must in vessels for use.

His works contain humor, dynamism and sense of style with organic influence. He likes to design object with non-usual shapes and interesting or simple patterns. In the future he would like to show a unique directory in tableware design. To give a plus to the customers and find out innovative forms or decoration is a must in his opinion. He likes to handle objects like scupltures, because this attitude can give free way to the ideas. Functionality always is a restriction in this field. Artworks from him immediately recognizable, because humorous, organic, non-usual that can give huge potentional in the future. His purpose to give different, better objects to the people to live a pleasant life.


Czech Republic

Award-winning Czech designer Milan Pekar is dedicated to his craft, creating crystalline glaze vases and sculptures in porcelain. Well known for his study of Glaze Chemistry, he mixes his own glazes for his designs. A special firing process means that each piece is unique – no two pieces are the same.

Pekar teaches Ceramic Design at the Applied Art University in Prague.

Pekař's "Czech Landmark" series is inspired by traditional Czech landscape. This collection of porcelain objects interprets legendary 1930s Czech fortresses that were built as a defense against Nazi Germany. "They have never been in practical use for what they were actually built for and with a time, they became part of Czech landscape. Mostly these fortresses were built on top of mountains or in the middle of fields," he says. This concept reflects the sentiment that practicality and functionality—even for the most grim reasons—and creative inspiration, beauty and charm don't have to be mutually exclusive.


As always, my work is about surprising myself and the audience. I use white porcelain and black earthenware clay together, fired at a high temperature. These materials respond differently to the same forces at work during the firing. The earthenware expands and erupts, creating a volcanic landscape – but not a natural one. What emerges from the fire is not mere chance or just a happy accident. That is because it is directed by me. I impose my will on the materials to the extent that I create the cuts and layers that interact within the kiln.

From the beginning there is order demanded from the clays. Nevertheless, it is an order that follows the rules of nature as well as man. That is why the element of surprise is always present. What happens in the kiln is unpredictable.

My work is an attempt to capture pleasure. I hope to communicate this sensation.


The idea of taking from one object and connecting it to another through the dissection of parts and pieces is a foundation of my recent work in ceramic sculpture. Combined with this is my interest in the relation of whole forms to that of fragments.

Exploration in the studio is and on-going visual investigation of man-made and natural objects. Usually these consist of small things; ordinary in many ways, but possessing and odd quirkiness that pulls me to them. In some cases I do not know the objects particular purpose, function or where it may have originated. I feel this lack of knowledge allows me to see the object in a clearer light. In some of the pieces I have abstracted from personal objects that have been given to me or passed on to me from a family member. Usually they are things that have no monetary value. An old pipe of my fathers, a funnel from my mother’s kitchen an old bulb from the family Christmas tree. A recent object that falls into category is a handmade wooden tool that was fashioned by my Italian grandfather to plant his garden. Slender and pointed with a stump of a side handle this small tool fit the hand of my grandfather and served him well. For me it not only holds visual intrigue but also a connection to my memory of him and the things he loved. The worn, crusty surfaces on many of the pieces are created to give a sense of how time acts to make and unmake a form.

This process can be seen in both natural and manmade objects. I do not wish for this work to be named or labeled, rather, it is my intention that through the borrowing and reformation of objects the work might trigger one to look closer and find beauty and intrigue in the humble, ordinary and familiar objects that surround us.

Virginia exhibits her work extensively throughout the United States and abroad, and has received numerous awards including the Sydney Meyer Fund International Ceramics Premiere Award from Shepparton Museum in Victoria, Australia. She has lectured internationally on her work and has been an Artist-in-Residence in Taiwan, Italy, Australia, and the Netherlands. Her clay forms reside in public and private collections including the Yingee Ceramic Museum in Taiwan and the FLICAM Museum in China. Reviews about her work appear in numerous ceramic publications.

"It is my intention that through the borrowing and reformation of objects the work might trigger one to look closer and find beauty and intrigue in the humble, ordinary and familiar objects that surround us."



Geometry, as the trendsetter of my approach, carries the stamp of man and his power. The accurately constructed forms emphasize human logic and its creative nature. The pure, visible way of construction, the constructively formulated shapes make an impression by the power of the harmony of nature in human language.

I am keen on making experiments.

I am especially interested in the inner structure of clay, how it could be influenced by changing its components. At the same time I am really interested in the adoption of different materials in one thing: how the used materials effect each other.

This is the way I see my objects, my art.




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