Ireland / Netherlands
In a studio on the Keizersgracht in Amsterdam a lump of clay and an invitation to make something was, I did not know it then, to be my future. Between times in the studio making forms to an end I did not comprehend I acted in short movies taking classes in the Stanislavski method.
The events in Northern Ireland in 1981 galvanised my mind to clarity. I realised the shapes I was making in the studio were a language of expression. As a composer finds sound, a painter colour and a writer words I found form in clay and it was what people called art and was necessary. There was no choice but to commit myself and to this end I went to Kyoto where the Sodeisha Group the best in my field were based. I lived and worked there for three and a half years with a rough studio on the edge of Kiyomizu. Honing my coiling skills under the eye of Tosai Sawamura the elder, I was deeply inspired by the works of Hayashi Yasuo and Arioka Susumu.
Everything I know is in my art work, I don’t always understand what I know.
ANNE-BRIT SOMA REIENES
In this work, I have explored material-based articulations in that the lines are modeled intuitively, as dense writing over diary pages where each page in the book or each tile eventually forms a new whole. The tiles have been associated with fingerprints and maps of landscapes, with room for opportunity for close and more distant perspectives. The tiles are glazed with a white glaze that is matte and which in some places lets the goods through with a red glow. In the densely packed poetry that arises, the eye can wander and make room for the slower gaze.
Reienes works both sculpturally and in two dimensions with clay, mainly in a larger format aimed at decoration. She has a master's degree from the Department of Ceramics at SHKD / KhiB, Bergen and a Master's degree in crafts from the Hungarian State Academy, Budapest.
Reienes has participated in several exhibitions at home and abroad and worked with both public and private decorations. She also works cross-aesthetically and performatively with text / drawing / material and has previously made outdoor spaces in both brick and granite.
Reienes works in his own workshop / studio by Lake Mjøsa and is employed as an Associate Professor of Arts and Crafts at the Department of Arts and Cultural Studies at HiNN, Hamar.
MORTEN LØBNER ESPERSEN
As one of the most successful Danish ceramists of his generation, Morten Løbner Espersen has brought a new energy to the tradition of ceramics through a 20-year exploration of his object of choice, the vessel. Based in Copenhagen, Espersen explores the simplicity of the form through variations of this archetype that balance opposing principles: simple form and complex surface, or complex shapes and simple surfaces. Whether his vessel is of modest, cylindrical nature or a chaotic, writhing mass of layered glazes, Espersen strives to create a quality in glazing comparable to Japonist pottery. Likened to the frothy, volcanic surfaces of Lucie Rie’s stoneware, the organic and protruding forms of Axel Salto’s “budding” vases, and a Patrick Nordstom brilliance in glazing, Espersen’s clay forms exercise the full potential of his self-imposed neutral starting point.
The sour scent of clay, its moist, dry, soft and fragile properties, make for a close physical experience that reaches its ultimate consistency in the digestive fire.
The hand-formed clay surfaces and shapes are a result of slow, layer-by-layer construction.
The vacuum between outer and inner space defines the shape.
Geminity, twin identities. Images and spaces of transitional states appear. Situations and relationships result in an ultimate unity.
Time is change. Space is time and body.
Silence is presence.
Creating and designing ceramic pieces is deeply connected to the actual handcrafting process. Ideas for new objects are rarely born on paper, but rather flourish from the alluvium of the everyday workflow. When a design is ripe enough that it’s manufacturing becomes a mantra of movements, free thoughts are born and quickly continue as material and technology experiments. Continuous physical connection with the material is crucial so each object becomes the celebration of handcraft and organic design."
The pieces of the Geoform series are ceramic paraphrases from our surrounding geological formations. Each objects evoke a characteristic features of a natural formation with their forms, surfaces and color variants. The materials developed from the original soils and the shapes of the objects came from the structure of the nature analogies.
The vessel captures the movement of quicksand. 3D printing technology has transformed these sand lines into a static, sculptural surface. The effect is further enhanced by the glaze.
Water-soluble salts, such as magnesium carbonate causes salinization in soil. When we mix this component into a ceramic glaze it’s create a cracked surface that also occurs in nature. Reflecting on the infinite extent of the Great Plain, where is usually appear this phenomenon, I displayed this cracked surface into an endless lens shape.
The geological rocks layers are piled one on top of the other, which in many cases revealed by abandoned mines. The vessel material came from a Hungarian quarry called 'Sámsonháza' where you can find five type of geological rocks at the same place. The vessel using the geological strata were made using Nerikomi technique, transforming the stratification into patterns.