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.
Drawing from my love of patterns, maps, and historical costumes, I combine porcelain map pieces with fabric, metal, wood and other materials to create whimsical wearable art pieces. This collection is inspired by the street maps of Copenhagen and Skælskør. Each map is disassembled to find the unique shapes, lines, and patterns hidden inside.
With an interest in industrial heritage, celebrating historical influences surrounding modern living is a prominent feature within my work. Upon visiting Denmark, I have noticed that similarities occur between the rural communities here and my home country, Wales, where industrial change is prominent both socially and economically. Through researching local industries, that through time have changed and developed, I found aspects of this change intriguing and wanted to reflect their current position in society, as well as revealing their active, traditional past through the aid of modern technology, 3D and transfer printing. This notion of continuation, development and change is reflected through the constant presence and use of Danish breakfast serving ware.
Energized by our urban environments and their endless possibilities, the ceramic medium allows me to play, manipulate and respond to aspects of the ever-changing landscape. Captivated by the lively, vibrant colours that exist within Copenhagen’s streets, I have referenced this fluid, dynamic city through expressive mark-making and exploring the interplay between old and new. In addition, the relationship between the pieces displayed on the wall and floor alongside their contrasting scale, height and depth, work to reveal the chaotic flurry of the cityscape, a constant state of change and our position within this environment.
A collection of seeds intended to reflect the forms and colors of nature, gathered in the manner of a Renaissance Cabinet of Wonder.
The human body holds great strength and simultaneously significant fragility. Unseen abnormalities are only suspected by symptoms and understood by further inspection. I want to convey the idea of revealing these abnormal occurrences to the naked eye.
Focusing on cell division, I use a single mould to create multiple ceramic forms that are modified with an incision into the material exposing the raw internal surface. The more altered a form becomes from the original the closer it is to being a foreign object in the space. The work then develops into a dialog of contrast between the exterior, interior, and unity.
Challenging borders of the classical.
There is a group of simple, classic, strong shapes that we know and recognise; based on the shape and the material the use of this form is assumed instantly. Alterations can be made to this object that alter perceptions and change the traditional view of the form. I find this notion of change intriguing; to view, approach and explore an object without it losing it’s identity.
The intimate dialogue between visual sensation and fundamental shapes are central to my current work. The work process is based on experimentation and posing questions to the material itself. While the work transforms, selected shapes take on new meaning through portraying personal or collective experiences. When this is combined with the viewer’s experience, a rich vocabulary of perceptions, potential insights and questioning aspects of reality may take place.
The core interest of my artistic practice concerns human existence. My work is based on a general interest in identity, how life is defined and formed by our time.
Feeding from the local surroundings for inspiration, I collect living material, cast it and create something new. The idea is that plants, living things, in a certain place are there not only by accident or nature, they are wanted or tolerated by man, a sign of culture.
Wounds and incised branches reflect life; through time they change and form new structures, patterns. In Guldagergaard, through the use of Danish clay, I made tiles, objects and small sculptures using the bark to play, hide and seek with old and unexpected stories.
Unlike the past, current life is more complicated and faster paced. However, there is something that remains constant, our home. Home can signify one’s family, memory of a childhood or a secret place. It symbolizes somewhere we often spend time as well as representing a conceptual nostalgia. In the end, these early beliefs motivate us to find the purpose of our lives.
My work allows the user to embrace and treasure their cherished beliefs through capturing objects or emblems. These are framed inside forms that represent home and remind us daily of what makes us who we are.