HOMAGE TO FRED OLSEN - A DIFFERENT WAY OF WOODFIRING
International Woodifring Symposium
23 - 31 October, 2019

A reminiscence : many decades ago, we were in the courtyard of the International Ceramic Studio in Kecskemét, struggling with the elements, days and nights were passing. We were building kilns : we wanted to create high-fire ceramics, glazes, artistic works and burn them in these kilns.

In this work Fred Olsen helped us out with his book, and also in person : he built his newly designed furnaces in our yard - with the assistance of our kiln technician, Jakab Kis.

As a responsible artist, I can not watch calmly as people burn down huge amounts of wood for a good effect or an artpiece. In this Symposium, with the help of our invited artists and the artworks created here, we would like to show that there is 'another way'. It is possible to take better care of our natural values. We also can create artworks in the beautiful woodfire with only a small amount of wood - thoughtfully and skillfully.

The works made by the invited colleagues will result in a joint exhibition and a publication.


MÁRIA GESZLER-GARZULY
Hungary

They say the world around us is getting poorer " verbally" : the communicative space of written and readable texts are more and more replaced by noises, voices, whispers , screams and music. But the winner is the visual language. Everything is filled with images: I live in he intoxication of the spectacle: the highway is not the road for me, but the scene of meadows,forests, I,am fascinated by the sky and the vapor trails of airplanes, and large grafittis melting away " like grief on the walls of houses ". I see images behind all the written and heard words-------this is how I became a ceramic artist and fall in love with photography, and also the transmitting, conversation of pictures to the ceramic surface.

Writing—a multitude of signs. Writing—the V formation of a flock of birds,the particular drawings of foliage, our hands touching on doors,on latches, the mark of our feet in the earth. Trains write railway lines, the chimneys of factories breath smoke-forms, the trees of gardens whisper green humidity---I write my life in clay


TEJA HLACER
Slovenia

“From ancient times potters have used wood to fire their pots. Fire as a primary element has a power to transform material, clay into ceramics. Fly ash of the burned wood always gives surprising effects. Wood firing takes time and is a special event, where good teamwork plays an important role.”

Teja Hlacer was initiated to ceramics in her childhood. Later on, during her studies in Cultural Anthropology she nurtured her artistic talent in field researches and studies of traditional pottery in Slovenia, her native country. Her Master Thesis in the field of National Heritage included a mentorship from a renowned Slovenian artist.

She is inspired by traditional ceramic forms and techniques. Her work has been shown in galleries and in international group exhibitions. She regularly contributes to the recognition of ceramics in Slovenia and likes to share knowledge and making ceramics around the world.

 


KEMÉNY PÉTER
Hungary

Powerful Japanese effects are revealed by Péter Kemény's robust cups and their associated washers. More individual style are the heavy-weight boxes of white porcelain, covered with pearls, and the dark shades of material, with cross-shaped closures.

Kemény Péter is an assistant professor of ceramic design at the Moholy-Nagy University of Art and Design (MOME), and he believes it is important to familiarize his students with the high-temperature, wood-burning firing technique, thus widening the range of tools.

During the spring and autumn semesters, he organizes firing workshops at both the Kecskemét International Ceramics Studio and Verőce whre he uses a two-chamber or a smaller, easy and cost-effective wood-burning kiln.


KONTOR ENIKŐ
Hungary

 


RUZICSKA TÜNDE
Hungary

Tünde Ruzicska is a young ceramic artist having great affection for “new craft”.

She makes hand-thrown and hand-built bowls and plates with a wood firing technique or using electric kiln serving uniqueness and unrepeatability with her style.

She is aiming to get into the art of contemporary ceramics and flow of fine-dining culture with the renewal of traditional ceramics techniques and personal touch.

 


YOUNG MI KIM
USA

"I hand build my work with coil & pinching technique. each strand of coiled clay is added, then carefully pinched vertically and horizentally to create a form. In this way each layers are formed, and vessels are completed. In essence, each layers mark time & space.... ….a prayer if you will …. a poem or a story about a day or two or three.... I weave together with clay to share beauty in my own way.

Vessels are then fired in oxidation, high temp. reduction and some are Woodfired in an Anagama kiln. When I hand build my pots, it is a form of meditation. It is my humble attempts to live in grace… like an open vessel... empty and yet full, of giving and receiving. When Pots are fired in the traditional Wood kiln,where many hands are needed to work together, I enter a community of friendship, where our common love for creative process is shared…. When work is shown or collected, I hope to share creative spirit of quite beauty & dance of grace.

May grace be granted always, in creating & sharing of my work."

Young Mi Kim is a ceramic artist, teacher & plant lover. She lives and works in woodstock NY. She moved to the catskill mountains from brooklyn NY 16 years ago, inspired to grow her own organic food and learn about natural plant world. And of course..... to make pots following the rythym of nature. she is greatful everyday because she can work in her garden barefoot & make pots listening to the bird songs.


CHEN MEI-HUA
Taiwan

Chen Mei-hua has worked for many years with the Huatao Kiln at the Hwataoyao Gardens located at the west hillside of Huoyan Mountain in Yuanli Township, Taiwan.

Founded in 1984 the terrain of the winding valley and the kiln and merges her ceramic art into the changing seasons of the surrounding natural environment. This is a unique work of art in which Yuanli’s Huoyenshan landscape is fused with ceramic aesthetics.

Visited by 600,000 people in the past three decades, Hwataoyao is a local cultural museum approved by the Ministry of Culture, offering an artist-in-residence program. Its guided tour received the Cultural & Creative Award granted by the Ministry of Culture for its innovative service in October 2013.

Hwataoyao started out as a ceramic art studio producing vases and has a 30 years of history as of today. Visitors are attracted here not only to visit a garden that houses kilns, pavilions, and terraces, but also to appreciate the local aesthetics embodying the cultural diversity on this island.


LISE ZAMBELLI
France

 

 

 

 

 

 

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