Vlad Basarab is a visual artist working with diverse mediums, concentrating on ceramics, installation, video and performance. He perceives clay as the material that embodies the most dynamic qualities of life and nature due to the transformations it undergoes. From the beginning of history, there existed a strong connection between language and clay, as early forms of written language were found on clay tablets. He uses art as a catalyst for reflection, as a holder of information from the beginning of time.
His art shifted its focal points from the fluctuations of memory appearances, constrained by individual filtering media, to the struggle between perishment and permanence, being addressed in the temporary installations, performances and videos. Becoming more concerned by the impact of censorship on culture, Basarab emerges his work towards questioning methods of transmitting memory, emphasizing the human need to safeguard the past and conserve historic truth. It pursues the need for preservation due to the extreme fragility of memory, knowledge and past.
In our fast-moving society with plenty of distractions, Basarab senses the increasing difficulty of remembering, despite memory being the only link to our past, our identity and our heritage.
I’ve been working as an individual porcelain designer since 2002. I studied at Moholy-Nagy University of Art & Design (Ceramic Department) in Budapest, where felt in love with the material. After my graduation, I worked as in-house designer at the famous porcelain manufactory of Herend.
I established my own ceramic studio (2008) where I produce my own designs. In 2010 for my Hungarian porcelain souvenirs and gift items I was awarded László-Moholy Nagy Design Grant.
Traditional Hungarian folk motifs adorn the porcelain works of Zsuzsa Boldizsár. The contrast between the smooth porcelain and the stylised folk elements creates exciting, charming and immediately likeable objects. They fit into our modern environment and at the same time reminds us of old, rich traditions .
Ágnes was born in Hungary in 1985. In her childhood she studied music and art and has been working with several materials, as ceramic, wood and porcelain. She studied in Budapest and Faenza, Italy and received 2 master degrees in porcelain design and visual communication-environmental culture- pedagogy from MOME in Budapest. She also worked for the hungarian traditional porcelain manufactory, Herend. She is working as a freelance product designer and as a creative director.
Her work is based on observation and complexity. She considers all the aspects of the products and develops the form from her inspiration and creativity. Her works show strong lines, shadows and also exciting forms and connections of geometry and porcelain.
Rustic surfaces, non-standard yet simple forms characterise the works of Hungarian ceramic artist Enikő Kontor. From her hands, romantic objects suggestive of nature are created, as well as modern, unusual works.
Her work is modest yet monumental in form with rustic surfaces rich in patina, captivate with their naturalness and the wonderful earth colors with which she works. But besides that, it is perhaps her enthusiasm that is even more captivating.
"I like many things. I like the smell of lavender and rose, for example, and I like to make my jam taste special. I love colorful knitted socks and patterned shawls. I like to get to know and understand people so that I can love them. I like to survive the summer heat and watch the winter out the window. I love living in the position of a snowman or even a centipede. I love the theatrical things, the generosity and the monumentality within 10 centimeters. I like to die a little bit in everything so I can be resurrected. But what I like best about it is that the clay is silent, and yet it can tell all that… "
He graduated as a porcelain designer at MIE in 2003. He has been teaching at the Silicate Department of MOME, at the Art Institute of János Harsányi College, at the Metropolitan University since 2018. In his professional work, he focuses on porcelain utensils and autonomous works. In 2019, he won the 1st prize of the Blanc de Chine International Ceramic Art Award for his work Lace.
Is porcelain capable of a transformation, which could imitate another medium?
My works have been made through an experimental rethought of weaving tehnique. This technique allows to create structures, which are in opposite to the character of porcelain as a medium. Moreover, the objects play on variations from a statical structure to the deformation during the firing. I consciously manipulate the movement of them. Indeed, their final shape also depends on gravitation and the high temperature of the kiln. Using several mediums at the same time, it gives hybrid objects as a result. My works visually trick people's sense. The viewer discover a material, that does not seem what he/she expected. My aim is to work without the stereotype of materials and to provide another reality.
Viktória Maróti is working in the field of ceramics design and art.
The main focus of her works are the connection of textile and ceramics,
which creates sensual illusions. Her artist attitude is specific about
experimental activities, thus the results most of the time come
into being in an unexpected way. Her objects are questioning and push
the boundries of the character of materials.
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.
The main benefits of a symposium are defined by two very definite, but at the same time barely combinable tendencies. On one hand it is the ability to concentrate on work, undisturbed and intense, in a very well quality equipped area. On the other hand it is sharing. Sharing of all kinds of things: of time, space, food, contacts and thoughts. It is highly impossible for me to synthesize those two currents. The outward-oriented force – pausing, and the creative process, which deals with and brings about all the important things settled down in the readily available parts of the brain. And then the inward force, i.e. accepting new principles, embracing inspiration, which takes me far away into unknown lands of the mind.
A mistake in space.
With my art, I focus on the connection between the built environment’s perfections and the art form as a generated error in it.
I use indetermination as a method of work collaborating it with randomness.
Clay, fire and fun by Ádám Csaba Szabó.