[gool - aya - 'goh]


Here we have gathered all our print catalogues from Project Network throughout the years. Please take the time to look through some of our artists’ inspiring and beautiful ceramic art works.

Meaghan Gates
Protection / Growth

My work transcribes what I see in the organic world around me to abstracted new forms. Themes that I experiment with are evolution and the human minds’ ability to interpret visual information. Our capability to imagine possible variations in the world creates a broader scope for what is and what could be. With this in mind, I ask the question “what if?” when I look into the natural world. I question the universe and the human condition when I observe the environment I am surrounded by.
From these ideas I create forms that are heavily based on organic symmetry. While there is no such thing as “factory perfect” in the natural world, there is a rhythm and structure that helps create balance and order.

Marianne Gerlach.
Bosnia and Herzegovina/Denmark
Surface Tension

It is the elemental nature of ceramics that attracts and excites me.

The initial inspiration for my work comes from the natural world.

Having said that: I have no wish or intention of directly copying nature …  but a great wish to capture …. communicate …  and bring an ‘essence’ of nature indoors … into the interior …. into where ‘we’ as so-called modern man tend to spend the majority of our lives.

I seek to work in the space between chaos and order  …. or ordered chaos …. where I do not have the full control of the final visuals of the piece but leave it up to the material and to the work  process itself to leave its mark too.

Maria Holm.

Always look twice, since the surface can’t tell us the true story.

Tracy L. Hudson.
Contending Norms

Of wonder, in particular, we may say that it is useful in that it makes us learn and retain in our memory things of which we were previously ignorant.
– René Descartes

I question what we interpret as beautiful and seek to redefine it. Organs, muscle tissue, fleshiness, disease, body parts–
I take these qualities and abstract them into new forms in order to appeal to my inherent curiosity and create a new and oblique visual identity for these attributes.

Anna Lönneborg.
Descriptive pieces

To look at the environments we face every day with new and more open-minded eyes can give us new experiences within an already familiar domain. Through my work I intend to discover and make the hidden sides and values of our everyday life visible. I explore familiar things and create new objects from my discoveries. Ceramic material is my tool for these investigations; but, I have no certain focus, in terms of technique and material within the ceramic field. I highly value the creative process in itself, where intuition and free association are directional.

Hyerin Jung.
South Korea

Everyday tools are my inspirational sources of treasure hunting. I am often intrigued by observing unconscious behavioral patterns in using the daily objects.

I conceive design if it is emotionally attached as well as functionally integrated, it lets users empathize more with an object. Thus, I intend to impose in my design the quality of that a functional element meets the sculptural aesthetic. As a ceramic designer, I often play the idea with about 60% of freedom of expression and the other 40% of limitation.

Kimie Kitamura.

As a child in Japan, I was endlessly making as I played. In nature I wove wreaths of clover and dandelions; at home I threaded beaded objects and knit and wove.

These experiences inspired me to combine my passion for ceramics with these traditional handmade processes by using them to connect the ceramic components of my work. Each little ceramic piece is unique, but often appears unimportant. However when united, the pieces become part of something greater and expand in all directions. I find it important to use materials I have found locally to further unite myself and my work to the environment I am in.

Wenda Vincent.




My work is an on-going investigation into the opposing dynamics of free and constrained thoughts and actions; I am currently exploring ways of encapsulating these diversities in my work by testing out different levels of control with the intention of finding a sense of balance and harmony in its final outcome.

Erna Elínbjörg Skúladóttir
The story of making / The story in making

The project is about making stuff, the process of getting something done. About being somewhere with a vague thought in your head about a great destination. But, the path that leads to that great place has to be built and rebuilt along the way. A constant reinvention. It is about making and unmaking, that something that is there in the middle, the poetry of the process itself.
I work with fairytales, with toys, playfulness. I feel that by casting toys or things in porcelain it gives them an aura of perfectness, of beauty but also of wrongness. It is colorless, mass-produced, lacking expression. I like that contrast.

International Ceramic Research Center

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