1. ceramicsnow:

    Sarah Purvey: Landscape Series, 2010-2014

     

  2. Watt’s Up? Ceramics and Light / Bernardaud Foundation, Limoges, France

    ceramicsnow:

    Watt’s Up? Ceramics and Light / Bernardaud Foundation, Limoges, France
    June 13 - November 29, 2014

    Watt’s Up? explores the relationship between ceramics and light by presenting some thirty works of art from all over the world, all created in recent years. Oddly enough, this relationship seems to inspire artists more than designers, trained to create objects such as lamps. Perhaps that’s because light transcends objects and gives us a whole new take on the world. Light affects our vision by modifying our perception of space and movement. In addition, there is a symbolic, poetic and mysterious element to it. As the French author Jean Giono once put it, very clever mysteries hide in the light. If light and ceramics go hand in hand, it’s mainly courtesy of porcelain’s unique properties of translucency, which can give light – produced by a candle or a tungsten filament – a soft, poetic aura and elicit a feeling of wonder. Ceramics offers a broad palette of sensations to play with. Faience is heavy, glossy and sensual in its interaction with light. Pottery absorbs lux units and asserts its own material plasticity to counter the intangible nature of light. Porcelain is lightweight and translucent, and the matte aspect of unglazed biscuit forms a striking contrast with the gloss of the glaze. Watt’s Up? is an unprecedented investigation of the latest innovations and know-how, both sensorial and intellectual in scope. As the topic was complex and broke new ground, it took nearly two years of research to bring these thirty or so works together. These works are by fifteen artists exhibiting for the first time in France. They are the result of technical prowess – manual and technical – as well as fresh creative thinking. None of them represent any particular school of thought, creative trend or artistic movement. Each work is an explosion of creativity, born of the artist’s reflections and inspiring a sense of wonder. This exhibition sheds new light on the art of ceramics.

    Curated by Cédric Morisset
    A double major in art history and cultural management, Cédric Morisset started out in contemporary art and gravitated towards design. He then moved into curating art shows, starting in 2003 at the invitation of the international design biennial in Lisbon and continuing in this line of work for several exhibitions presented in France and other countries, including French Reference (Shanghai and Canton, 2008), Icons of Design (Sao Paulo, 2009) and Nouvelle Vague (Milan, 2011 and 2013). Cédric Morisset contributes articles on design to AD magazine and the daily newspaper Le Figaro on a regular basis. From 2010 to 2012, he served as head curator for the annual AD Interieurs exhibition held by AD magazine. Since 2013, Cédric Morisset has headed the design department at the PIASA auction house in Paris.

    Exhibiting artists

    Frances and Dominic Bromley Ceramics

    Frances & Dominic Bromley, Shoal 1672, 2008, Natural unglazed English fine bone china © Mark Wood Photography

    Frances & Dominic Bromley
    Since Frances & Dominic Bromley started their design studio Scabetti in 1999, their work in ceramics has earned considerable critical acclaim in the UK and across the world. Their designs are light, precise and elegant, and realised in fine bone china in their studio in Leek, North Staffordshire. Their first venture into light sculpture in 2004, was inspired by moths being attracted to candle light. Drawn to the Light, was composed of sculpted curved elements made out of bone china which appeared to be floating around the central light source. During London’s Design Festival in 2007, the couple presented Shoal, a suspended light sculpture suggesting a school of fish with more than 1500 bone china elements. These pieces paved the way for a series of bespoke commissions, which are now a Scabetti specialty. One commission for the International Maritime Organisation had 3,434 stylised bone china anchors arranged in a 5m tall sculpture and is on permanent display at their London Headquarters. Frances & Dominic Bromley have created Ascension especially for the Watt’s Up exhibition and their imagination has reached new heights. This new installation, made of English fine bone china, features hundreds of human forms that seem to be rising through the air towards the light. The creative talent of this design duo has added poetry to technical expertise.

    Frances Bromley (b. 1969) and Dominic Bromley (b. 1971) majored in Industrial Design at Brunel University, London. They live and work in Leek, near Stoke-on-Trent, England.

    Jeremy Cole Ceramics

    Jeremy Cole, Cymbidium chandelier, 2012, Porcelain © Lindsay Keats

    Jeremy Cole
    The master artisan from New Zealand has been highly sought-after by the luxury sector since 2005. His remarkable porcelain lighting fixtures are inspired by the plant kingdom (e.g. flax, aloe vera, a chyrsalis or orchids). In his studio on the other side of the world, he creates beautifully crafted masterpieces that end up in Bulgari or Harry Winston show windows or at Four Seasons hotels. His unique lamps feature spectacular, poetic forms that imitate Nature; his magical lighting can make them look stylish, disturbing or amusing. And the porcelain orchids in his hanging lamp Cymbidium Orchid actually look dead until the light is turned on, making them come vibrantly alive.

    Born in 1973 Jeremy Cole is a self-taught artists. He lives and works in Wellington, New Zealand.

    Coup de foudre: Goedel Vermandere and Jan Arickx Ceramics

    Coup de foudre: Goedel Vermandere & Jan Arickx, La Vierge, 2010, Porcelain © Peter Verplancke

    Coup de foudre: Goedel Vermandere & Jan Arickx
    Goedel Vermandere used to teach school but became a ceramic artist in the mid 2000s. In 2004, she met an event planner named Jan and it was love at first sight… including at the professional level. As a design team, they went on to create light sculptures from cast porcelain that were remarkable for their sensuous quality and their harmony. The pair also works in steel, copper, stainless steel, paper and tree bark. They are always experimenting with new techniques to illuminate porcelain’s transparence more effectively, express a feeling of warmth and fulfillment, and open up new horizons.” Their creations – whether a hanging lamp forming a horizontal line in space, a standing lamp like a totem pole or a suspended lamp as round as a full moon – are striking for their simplicity and originality. One reason is that each of their pieces, which are fired gradually, starting at a low temperature and building up to 1260°C, is fashioned from hundreds of translucent porcelain petals and gives off a soft, romantic light. This talented twosome knows how to use technical skill to create poetry.

    Goedel Vermandere (b. 1969) is a school teacher trained in ceramics at Syntra-West, Bruges. Jan Arickx (b. 1959) is an event planner. They live and work in Courtrai, Belgium.

    Pucci de Rossi Ceramics

    Pucci de Rossi, Cartona, 2007, Porcelain © Made

    Pucci de Rossi
    Born in Verona, Italy, the artist and designer Pucci de Rossi moved to Paris in 1979. In step with the Memphis Art Movement, launched in Italy in 1981, he influenced the European art and design scene of the 1980s and 1990s. Throughout his career, he developed the wildly poetic side of his nature, not to mention his unbridled imagination. Constantly seeking to reinvent and reinterpret, he liked to use ordinary materials like lead or cardboard to create elegant, highly imaginative objects, and to turn preconceived ideas upside down. Poking fun at the “art or design” controversy, which is still raging, the artist gave everyday objects an ironic narrative treatment that rendered them precious. In the last decade, De Rossi exhibited at art galleries in Paris, such as Catberro, Downtown (François Laffanour) and Anne de Villepoix. Not only did his work impress collectors, but creations bearing his signature made their way into the collections of the Musée des Arts Décoratifs in Paris. His designs were produced by the editor Made who suggested In 2001 to release limited editions of his one-off objects. Among the latter were Dondola (rocking chair with book shelf, 2004) and his Cartona lamp (2005), which is presented in this exhibition and pays tribute – whether intentionally or not – to Arte Povera. Using fine porcelain to imitate humble cardboard, this creation flirts with contrasts and brings a little whimsy to everyday life.

    Pucci de Rossi, 1947-2013

    Bernadette Doolan Ceramics

    Bernadette Doolan, Nostalgia, 2008, Porcelain © Rory Nolan

    Bernadette Doolan
    For more than fifteen years, the Irish artist Bernadette Doolan has been creating works marked by their intimacy. She sets out to capture and express emotions in porcelain and bronze as well as in her paintings. “My work focuses on life, from the cradle to the grave and everything in between… on our dreams, desires and fears” she explains. The work presented in this show is an assemblage of illuminated box panels using engraved porcelain, which looks different depending on whether the lights are on or off. The artist is interested in our memories and in the motifs, landscapes and impressions stored in our subconscious. “I use objects that are meaningful in a personal way, such as the lace from a First Communion dress, to print on the porcelain surface,” comments Bernadette Doolan. “Sometimes, I even use plastic bubble-wrap, because I love the sound that the bubbles make when they pop!” When the panels are illuminated, the pattern communicates the emotions inherent in the private experience to the viewer.

    Born in 1973 Bernadette Doolan is a self-taught artist. She lives and works in Wexford, Ireland.

    Volker Haug Ceramics

    Volker Haug, Rudolf, 2012, Porcelain © Paul Allister

    Volker Haug
    Based in Melbourne, Australia, the German-born designer Volker Haug designs one-off artisanal lighting creations. He got the idea for his clever Rudolf pendant from the double adaptors to be found on plastic lights in Berlin. The designer amused himself dreaming up all sorts of combinations. After a trip to Milan and a conversation with Ingo Maurer, a master of lighting design, Volker Haug returned to Australia determined to use porcelain for his Antler line. Rudolf revisits traditional chandelier design by assembling porcelain modules in every direction, combining industrial style with porcelain craftsmanship; modularity with unity.

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  3. Sara Radstone / Marsden Woo Gallery, London

    ceramicsnow:

    Sara Radstone at Marsden Woo Gallery London

    Sara Radstone / Marsden Woo Gallery, London
    April 3 - May 10, 2014

    Sara Radstone describes her work as ‘a lifetime obsession with things that are overlooked or discarded’. Thoughts of archived objects and the traces or fragments of long redundant artefacts all haunt her work; they represent, as she puts it, the ‘frozen remains of what might have been.’

    Her most recent sculptures on the theme of distant and fragile memory make reference to both past works and more universal themes. Some aspects of her investigation include the re-envisioning of her personal visual language. She speaks of ‘Re-visiting a sense of volume and seeing it differently’, to overturn the original idea to the degree of ‘going to the absolute opposite’. Thus formerly enclosed shapes are now ripped open, while a delicate, skeletal wall-mounted piece, composed of frail fragments, makes poignant reference to an earlier sculpture, sadly lost alongside numerous other contemporary British artworks in the MoMart warehouse fire of 2004.

    Traces of thoughts and the notion of ideas gradually taking shape and accumulating over time are also represented in a series of folder or book-like forms. These thin and precarious objects appear dry and brittle, torn, scratched and punctured, while bearing the sheen of use. Radstone found herself returning to work on the books almost as a daily ritual; as such they became the focus of her interest in ‘building up a sort of diary of marks’, serving as a record of ‘the struggle to express things on their pages’.

    Sara Radstone (b.1955) studied at Herefordshire College of Art (1975-76) and Camberwell School of Art & Design, London (1976-79). She has exhibitedinternationally and her work can be found in numerous public collections including the Los Angeles County Museum, USA; Shigaraki Cultural Park, Japan; and the Victoria & Albert Museum, London.

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  4. ceramicsnow:

    Alexandra Lerman: Immediate Release at Tina Kim Gallery, New York
    May 1 - June 28, 2014

    Courtesy artist and Tina Kim Gallery

    > More exhibitions (gallery) / View the list of ceramic exhibitions

     
  5. spaceships:

    ↬ no source … from an issue of Brutus? ↫

    » via consideredspace, scanned by old chum

    live, work

    (via workspaces)

     

  6. Dual Natures in Ceramics: Eight Contemporary Artists from Korea / SFO Museum, San Francisco

    ceramicsnow:

    Dual Natures in Ceramics: Eight Contemporary Artists from Korea / SFO Museum, San Francisco
    May 17, 2014 - February 22, 2015

    “In modern art, as everyone knows, the beauty of deformity is very often emphasized, insisted upon. But how different is Korean deformity. The former is produced deliberately, the latter naturally. Korean work is merely the natural result of the artisan’s state of mind, which is free from dualistic man-made rules.”
    —Bernard Leach (1887–1979)

    Renowned British studio potter Bernard Leach once acknowledged that Korean potters are admired for their naturalism and spontaneity in creating ceramics. Scholars have attempted to define the beauty of Korean ceramics as “artless art” or “unplanned plan.” Indeed, Korean ceramics have been produced by the second nature of matured, skilled hands, sometimes transcending any rules, knowledge, and intentions.

    During the twentieth century, Korean artists and theorists grappled with the interplay of modernization and tradition. Some artists looked to the genuine, fresh, and fundamental qualities of Korean potters from the past as inspiration to create more appealing modern concepts. Through Korean ceramics, they have explored a dialogue between the traditional and the contemporary as well as East and West.

    The eight artists in this exhibition revive and reinterpret aspects of traditional Korean ceramics in various ways. Yoon Kwang-cho and Lee Kang Hyo discover artistic freedom in Joseon dynasty (1392–1910) buncheong (white-slipped stoneware) ceramics and apply white slip in playful and innovative ways. Buncheong is a distinctive type of Korean ceramic that flourished during the fifteenth and sixteenth centuries. Both artists’ ceramics have the whimsical, rustic, and audacious characteristics of buncheong in addition to contemporary elements. Joseon dynasty whiteware was the main foundation for Kim Yik-yung and Park Young Sook. Park has experimented on the uniquely Korean globular jar, the so-called ‘moon jar,’ while simultaneously exploring other Korean porcelains including a blue-white ware shown in this exhibition. Embracing whitewares’ core traditions, Kim Yik-yung complements innovative surface treatments and explores new types of glaze.

    Techniques used in traditional Korean ceramics are another matter for the artists in this exhibition. Roe Kyung Jo is known for his marbled-ware technique (yeollimun). The technique was traditionally used for celadon wares, but Roe applies it to other wares. Onggi, a form of earthenware that predates porcelain production, served various purposes in Korean households. Lee Inchin started his works based on onggi wares but expands the technique using new kinds of glazes and experimenting with their applications.

    Koo Bohnchang and Yeesookyung go further in interpreting traditional Korean ceramics. Through photographs and video art (newly created for this exhibition), Koo reveals the organic qualities of Korean ceramics that have been overlooked or disregarded by our bare eyes. Yee utilizes and renders the superfluous aspect in ceramic production. Using abandoned ceramic shards, she translates the original concepts of ceramics into more innovative sculptural works that sometimes puzzle the viewers about the concept of ceramics as art in the twenty-first century.

    Although their techniques, methodologies, and approaches are different from each other, these eight artists playfully add complex layers onto the history of Korean ceramics through their own interpretations and expressions. Dual Natures brings fresh perspectives to traditional Korean ceramics and suggests new paths of expression for a new century.

    This exhibition is co-organized by the Asian Art Museum and SFO Museum and is curated by Hyonjeong Kim Han, Associate Curator of Korean Art, with assistance from Silvia Hari Chang, and Chihyun Lee at the Asian Art Museum.

    Dual Natures in Ceramics is located in Terminal 3, Boarding Area F. The exhibition is located post-security and is only accessible to passengers ticketed for travel through Terminal 3. There is no charge to view the exhibition.

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  7. ceramicsnow:

    Eszter Imre: Must-produced, 2012

    Series of porcelain sculptures made of factory waste as interpretations of my opinion on perfection. Imperfection can be so tempting and beautiful that it feels complete and exquisite.

     
  8. musesofdesign:

    Handmade walnut spoon by Relicwooco

     
  9. storyhug:

    from The Fairy Ball by Amanthi Harris. Read the story at www.StoryHug.com

     
  10. workspaces:

    Nestled in the clearing of a forest in upstate NY » designed by Incorporated Studio | via

     
  11. workspaces:

    Merci in Paris | via interiormagasinet

     
  12. workspaces:

    the studio of artist Joseph Shuldiner | photos by Brian W Ferry

     
  13. kutxx:

    2.

    Amedeo Modigliani

    Anna Akhmatova

    1911, pencil, paper

    (via lilrana)

     
  14. mouseshouses:

    mirror

     
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