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.


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:


My main source of inspiration is when I can create something that it also gives pleasure to others.

I always observe my environment and follow actual trends, in order to have up to date ideas. I like to create my porcelain objects with the greatest precision. When designing, I try to use modern technological solutions alongside traditional techniques.

I like simple and clear design, which gives space to the realisation of playful graphic patterns and other ornaments.

Often there is a duplicity in my work. Often I design an elegant and a more playful line. I believe this is natural and fundamental human approach.

In 2012 I established my own brand the Design by Monori, which is dedicated for my own hand crafted quality production.

artist website:


Glassware, ceramics and porcelain objects, possibly supporting each other, are produced as internal inspiring and tensioning correlations on my desktop.

The transparent existence of glass material is so rich that takes of the excessive aestheticisation.

This modest lack of equipment and a traceable, reversible creative movement attract me nowadays.

Ceramic objects where the atmosphere of landscape and still life compete with time. Previews, gardens and monumental proportions, masses. The scheminess of fresh and soft clay, the devoting state of every gesture is an astonishing impression of our personality. The freshness and genuine of the sketch is the most honest way of creating and this is, that I try to represent.

Surprisingly, contrary to the marketing approach, I like mistakes, because mistakes are against the creative plan, stealth focus, that represents the caducity.

Üvegtárgyak, kerámia és porcelántárgyak,- esetleg egymást is támogatva kerülnek elő, mint belső lelkesítő és feszítő összefüggések a munkaasztalamon. Az üveganyag transzparens léte olyan gazdag, hogy tapasztalataim szerint leveti magáról a túlzó esztétizálást.

Ez a visszafogott eszköztelenség és a követhető, visszafejthető alkotói mozzanat vonz mostanában. Olyan kerámia tárgyak, ahol a légkör sűrűsödése táj és csendélet versenybe száll az idővel. Előképek,-kertek és monumentális arányok, tömegek. A vázlatszerűség, a friss és puha agyag minden kézmozdulatnak odaadó állapota elképesztő lenyomata a személyiségünknek. A vázlat, mint az óvódások gyurmázása a legmezítenelebb alkotói vállalkozás, ennek az ereje az amit jelenleg megkerülhetetlenül képviseltetek.

Meglepő módon a marketing szemlélettel ellentétben keresem és idővel jó barátom a hiba, az az alkotói tervvel szembehelyezkedő, lopózkodó összpontosítatlanság, ami az esendőség képviseletét hordozza


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.

artist website: Facebook page


Margeaux started throwing stoneware pots on a kick-wheel at 14 and at 16 was working in a solo studio in New Zealand with icy white porcelain. Later she went on to complete a BFA in Ceramics at the Kansas City Art Institute.

With a passion for product design and development, travel and cycling- she has finally settled, her feet firmly planted in her studio. She has twice worked with eastern European educators and designers at the International Ceramics Studio in Kecskemeti, Hungary where she observed European ceramic design and learned to turn plaster.

In 2015 she completed research and imported plaster turning equipment as part of her Jerome Foundation Award.

Turning prototypes and pulling molds as one would in a factory setting is now a primary execution in her small workshop.

artist website:


Ceramic and porcelain art has traditional bounderies because of the material’s role in everyday life. When people think about ceramic / porcelain, they usually think about well-known representative forms, and common tactile impression az well.

As an artist, I play with the gap between the traditions and innovations. Usually I work with, and sometimes work against to these preconcepts, like: tradition - innovation, fragility - flexibility, timeless - temporary, worthless - valuable, quality - quantity, the surface of the glased and unglased porcelain, hight quality - mass quality, etc.

My aim was to make people rethink these preconception, and meet with the porcelain material in a new way. The structure’s chains are unglased, because of that, the porcelain pieces dosen’t stuck together in one pozition after the fireing. The form / composition is varriable, and the sculpture is able to react as sensitive subjects to external influences.

The logic of the moving is easy to understand and learn. You could change the form and the composition whenever and whatever you want, and prepare a new work form the same one. There will be an active relationship between the object and the owner, and each and every time this can result in a different conclusion / composition.

I usually work with slip casting technology. This “Mass production” can ensure quality and quantity in mass that can be used as an artistic tool as well. What you see on the pictures, is just one position from many other possibility.

To see the mobility of the sclupture, please watch:

artist website:

The exhibition of works created during the symposium will open on the 5th September, 2019 at 18.00 in the Kápolna Gallery, International Ceramics Studio.

Presentations by the symposium artists will take place during the Kecskemét Ceramic Days 5ht and 6th September, 2019.





© International Ceramic Studio, H-6000 Kecskemét, Kápolna u. 11, Hungary