the 2019 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 chief hope is to find a viewer who can genuinely read forms; who has not forgotten that the way of looking at things — all things everywhere and all of the time — and thinking about them is constantly changing.

What interests me most are ideas relating to form. Is it new? Will it eventually hang or lie or stand? And of course, I must ask myself what material and technique has the greatest potential to communicate.

My main task is finding new formal solutions by thinking through my own actions with the material, whether it is clay or fiberglass, natural or man-made.

How do I get people to truly begin to experience my nonfigurative shape?

What must I do to guide the viewer’s eye?

How do I trigger their emotions, thoughts, images and stories so that the sculptures speak to them?

My answer of course will depend upon the questions I first ask myself. What makes a shape so appealing? Certainly not a social or political concept. I want my viewers to be concerned with forms, with formal solutions, not — or at least hardly ever — with art history or social or political matters…at least not explicitly.

Can the pieces effect be spiritual, emotional or sensory? I often work with circles and ovals. For me they refer to the infinite. The form influences the way you experience the object. There is something pure and untainted about geometric forms, which leaves us free to look at them. You can also say things by deviating from these forms, by corrupting them, making them distorted or clumsy. I want to create a kind of confusion or astonishment so that people pay more attention to them.



I am working with mixed media sculpture, making and arranging multiple components into complex narrative tableaux of visual excess. The dialogue between components and the way one's unconscious can direct the composition interests me.

I try to create a place beyond reality, a deceitful echo of the real world, that bends the perception of what is real.

I want my work to look like a very skilled child could have made it, clumsy and elaborate at the same time. Initially the viewer may, mistakenly, be drawn to my figures thinking them to be toys; however closer examination reveals their rather darker narrative. They invite you into an absurd and surreal world where things are not what they seem… A frozen moment that indicate a story and mood but at the same time is open for the viewer to filter their own references through, to make sense and contribute to the story themselves.

My aim is to create a visual poetry based on my own personal story.

artist website:

Great Britain

I am a British artist based in Bristol, UK.

I create ceramic sculpture, drawings and paintings.

My artistic purpose is to create art that seeks to evoke curiosity. It is up to the viewer to explore their imagination and make decisions about what they are seeing. The ideas behind my artworks has to resonate with me and at times it can be interchangeable with my own experience. I want to communicate a fascination for the unknown as life is full of questions.

The Historic English Heritage monument Stonehenge helped me to develop this way of thinking. To this day its purpose and meaning still largely remains unknown. It forces myself to be curious, to learn anew and reflect upon my existence.

I do not intend to replicate its presence in any way but use this as a foundation to generate ideas around imagination, possibility and curiosity. These resulting artworks can be described as surreal, unusual and thought provoking.

I am also a UNESCO​ International Academy of Ceramics IAC member.

artist website:

Hungary / Japan

Expression in clay
The matrix of my work is a series of spirals.

One of the very important aspects is the active life force of the clay. I let myself be carried by the mystery of a process that is repeated again and again. Stretching the clay strip by hand, flinging it up into the air, and slapping it down on a board. In doing so, the inside structure of the clay has changed. The clay particles are reconstructed and as such give a beautiful relief to the surface. However, this beauty is not my goal.

The long flat clay strip is necessary to make a shape, to mould a form, that would not be possible any other way. It is similar to drawing in space with a pencil or a brush – a space drawing.

The beauty of the surface is something extra, a kind of gift. Furthermore, this reconstruction of the clay particles is visible, noticeable to the viewer, and gives a particular aesthetic to my work marking its unique characteristic.

During the last 25 years, I have widely developed this surprising new world of expression in ceramics. It has incredible possibilities.

artist website:


For several years I’m exploring the relationship between “free” three-dimensional space and two-dimensional geometric surfaces, giving a visual meaning without restricting the movements.

From 2011-2017 my sculptures dealt with tension and balance at different levels such as: physical balance, tension between which is planned and which is not; between the expected and unexpected etc., all come from my scientific base of thinking from being a scientist.

These sculptures are slab-built from a mixture of stoneware and porcelain, burnished, covered with terra- sigillata and fired using the Naked Raku technique. Black and white are the dominates colors in these works, together with the range of gray tones, all resulting from the carbonation during the Naked Raku process.

In 2017, I started a new research, looking for a way to increase the organic appearance of my sculptures, getting a natural folding and movement, dealing with non-defined shapes, giving way to new abstract and free forms. Porcelain seems to be the best choice for achieving it.

I’m not looking for the thinness, fragility, transparency and whiteness of the porcelain. In my porcelain sculptures I’m dealing with the questions of new inter-space (void image) created by the collapse of the folded shape, color, patterns and movement. The pattern added to the sculptures, adds a new dimension to the folding, giving impression of softness forcing the eye to flow the folding and focus on the void image created by the collapse.

My sculptures are autonomous objects that stand independent of narrative or objectification. As autonomous objects, they lead the viewer to follow his imagination and feelings for their meaning.

artist website:



In 2012, Márton Strohner established the «MASTRO» brand. Every piece of handmade work is unique and a testimony to his broad interests.

The young designer offers a wide spectrum of products ranging form small scale porcelain objects, jewellery and home decoration accessories to limited edition dog leashes for everyday use.

His objects combine the two fundamental design principles of quality and function. Besides his dedication to detail and careful workmanship, he strikes a temporary yet classical chord with products of extraordinary appeal.

artist website:







Julia Nema is a ceramic artist, designer and painter based in Budapest, Hungary.

Her studio is the only ceramic workshop in Hungary using a high-temperature, wood-fired kiln for production. She creates mainly tableware, architectural and fine art works, and has received numerous commissions from exclusive restaurants for bespoke tableware.

She has been awarded the Ferenczy Noemi Award and the Hungarian Design Award. She has been featured in international publications related to ceramics, including F. Olsen’s The Kiln Book (2011), and is author of the first and only book on wood-fired ceramics to be published in Hungary. She holds a PhD in Liberal Arts from Moholy–Nagy University of Art and Design. Julia Nema’s works have been exhibited across Europe, as well as in Japan and the United States.







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