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.
Currently, my work centres on process-led modes of production in contemporary ceramic sculpture. I am concerned with how materiality and process drive work forward through repetitive modular assembly, accretion and layering to achieve structure and form, whilst also taking account of sculpture’s formal vernacular. Both spatial and temporal, these structures occupy space in peculiar ways and hope to offer the viewer unusual encounters. They call attention to what an object does, rather than what an object means. Multi-referencing, abstract, yet familiar, these are objects that appeal to the archaic content of the mind where the viewer might approach some form of recognition.
The concept of my work is based on the information that I get from media such as newspapers, television and internet as well as everyday life. By abstracting the reality with imagination and material, my work can be seen as visual narratives. Humor is often part of my artistic process.
Having the oportunity to be here at Guldagergaard I‘m exited to try as much possibilities of ceramic technology as possible. So I make tests of local materials and firing methods. I test this on animals. Every test is already a result because not only the technology is being tested, but my own inner life as well.
Nature in all it‘s manifestations is the most inspiring and influencing factor. In many ancient religions gods were represented by the appearance of different animals. I consider animals divine even if they aren‘t pictured as concrete gods. For this project I have chosen the dog image to be tested because I‘m very inspired by the dog I lived with night and day for many years.
The topic is generally painful. A huge variety of tests are made on animals, for example medicine. But the animal is medicine itself 😉 Which is tested. Daily.
This series of illustrative constructions is based on narratives about feelings of displacement, memories of places and everyday-life anecdotes. Using collaged pieces, I create dialogues to engage the viewer in an intriguing, poetic world of personal images combining humour and pathos. The pieces explore the two and three dimensional and create a universe which mixes the familiar and the unfamiliar, the personal and the universal.
My research is based on the relationship between spaces, shapes, prints and memories.
The brief notes on the ceramic surface appear by transparency and reflexion. The shapes tangle up, almost hiding and overlapping, and eventually start breathing, and opening up.
The movement of light through the pieces hides and reveal words, which become traces.
The new shapes adapt themselves to the surrounding space, and a new geography of visual relations are created through different perspectives.
The light shifts the attention, and reveal almost suddenly new memories and identities which cannot be forgotten.
As composition gives way to deterioration, layers are uncovered and opportunities emerge to discover that there is more substance under the surface. Intrigue compels us to explore the textures, forms and surfaces revealed through the making process.
I am exploring the language of patterns and connected shapes in compositions.
I work with references and clashes between earlier time-periods, textiles, my own cultural heritage and the visually soft expression of clay.
By playing with these elements I am seeking to push the boundaries of abundance and the viewers perception of clay.
My work celebrates the processes of making and explores our relationship with objects by enhancing the story of their creation. I translate my working methods into visual information, which is captured within the pieces in order to reveal this narrative.
By manipulating normal methods of slipcasting, I create unique objects that elevate a process normally associated with mass production.
Maps offer a visualisation of space, they show us the connections and distances between places. Lifting and borrowing from the accepted visual language of maps, I create a dialogue that explores my insufficient sense of direction.
This work uses clay to appliqué my interpretation of a new place, collected maps and other people’s observation of that same place to create a collage of expectation, reality, imagination and perception.