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.
To see a world in a grain of sand and a
heaven in a wild flower,
Hold infinity in the palm of your hand
and eternity in an hour
Auguries of Innocence- William Blake
Beautiful sunset, endless green, song of a
bird, winter lights, mulled wine
The city that never sleeps, the moment that
I met you,
Every single step of the way…
The moment that I had will become solid,
making who I am.
Every moment I feel bliss.
Textiles and ceramics share multiple
similarities, and often call to one
another in terms of assembly and
fabrication. Applying recognised methods of
making from one discipline to another, I have
created a body of work that refers to these
dual characteristics. This work explores dress
patterns and garment construction, as both a
source of visual inspiration and as a vehicle
for creating 3D form.
Based on a series of symbols which are
translated to fabric during making processes,
this body of work references the often
ambiguous motifs found on sewing patterns.
Employing a particular shape symbolising hip
and bust alteration, these works represent
redrawn and altered compositions. Using
varying processes of creation, this collection
allows slipcasting and handbuilding to
compliment one another, while acting as a link
between textile and ceramic.
I think that it’s important that we celebrate
the moments that changed us forever. If
these moments aren’t given the attention
they deserve, they come back kicking and
screaming with more than just sticks and
stones. They come back wielding an arsenal
that makes sure that we forget what our laugh
sounds like, even our scream, and eventually
who we are.
”Chandelier” is my residency project based on the very precise dialectic concept: Everything is in movement, in transition between what it was, (the past) what it could become, (the future), it could transform in any moment to be something else even the opposite.
From a descriptive point of view, the crystal chandelier is a grand and complex object, it could comprise of more than fifty different pieces assembled in a very specific order.
In “Chandelier” the coloured porcelain arms are replicating the pattern of snakes skin. Assembled together one after another in a random order, transforming into a large snake illuminated from inside. If the value of use becomes secondary compared to the symobolic value, the snake chandelier, now has a new meaning, it has become an accessory of seduction and sensuousness.
This work is an allegory of death and life, it is also to remove the fear of the distance between these two worlds, to try and tame the boarder between them.
My ceramic practice is of an experimental style. I am driven by a fascination with our natural world and the alchemy of our earth given material; clay. Outcomes are a result of process and material working together within the ambiguous space of the kiln. My work conveys the transition of material within a still moment, suspended in time. By using the unique melting qualities of Egyptian Faience alongside forms which encourage its movement, the objects represent aspects of organic growth and the changes that nature experiences every day.
I am fascinated by glimpses of everyday
lives and activities. I am interested in
capturing snapshots that convey a sense
of stillness, absence of presence and being
the outsider looking in. I aim to translate this
interest through ceramic forms which convey
the volume and depth of darkness in contrast
to slithers of light emanating from window
This body of work is in response to my
observations of the domestic buildings in the
town of Skælskør. I have been influenced by
the rich colours and the highly textured tiled
roofs of Danish houses.
Walking through Skælskør, the streets are
empty and still, the houses being the only
strong sense of human presence. The forms I
have created reference Skælskør’s shadowy
dwellings in the evening. The collection has
taken on a life of its own and stands together,
a small, still, surreal town.
As humans, we surround ourselves with
a plethora of objects. All ages and
types of people display this kind of
encompassing of their lives with possessions,
and human experience ultimately becomes
punctuated by the things we cultivate and
eventually dispose of. These quiet shapes are
where my work finds interest. By referencing,
distorting, and eulogizing the mundane
objects we love and eventually lose, I aim
to induce a shift in perception regarding our
material possessions, and to ask why we
inject meaning into items that are no longer
functional or needed. These works strive to
address sets of experiences as defined by
cheap aluminum and mass-produced plastic,
and to glorify the small objects that saturate
I collect memories and gather them together.
If I choose to use the word «mood»,
it’s because of the idea of the changes
and variations which are involved. the main
purpose of this body of work is to preserve a
sens of freeedom in the movement and in the
The Mood Pillars are receptacles created
with piles of divers ingredients. They express
condensed essence of feelings either real or
imaginary from travel or coming up from older
memories. They can be personal or public
stories. Diverse types are blended together :
architectural, historical characters, current times
or bygone eras.
The purpose is to get caught by a series of
idea, the chance plays an important role in the
elaboration of the pillars, rather like surrealist
collages but in ceramic.
The ceramic medium brings together these
fragments of memorie cohabit in an artistic
The static aspect of ceramic is sometimes
interrupted with video memories which are
inlayd in the structure.
Influenced by many years as a dancer
I find inspiration in the fascination of
movement in the female body and in the
cultural differences in femininity between
Denmark and Latin America.
From the Brazilian samba, the sensual
Kizomba to the more vulgar Twerk. Each
celebrate the moving of the hips, the joy of
dancing and the joy of the female body.
In this body of work I want to express
sensuality, communication between bodies
and the feeling of longing.
Abstract amoeba-like objects.
Surreal but still recognizable.
Objects that make you want to touch.
Throwing and slab building are the
main ways in which I have worked
with clay. My thrown work tends to
be symmetrical and graceful forms, while the
slab built pieces tend to be architectural, and
bold. Each technique seems to lend itself to
certain qualities. During this residency I have
been exploring ways of marrying these two
methods of making in the same piece. What
has transpired is a certain curiosity in the
combination of sculptural elements around a
simple function, bowls in this case, where when
the bowl is not in use it can: stand on its side
and become decorative, or flip it over and it
becomes a plinth for another object, or stack
them up and they become a unique pillar. I also
love the idea of performing a simple action,
like eating breakfast, out of a unique sculptural
I am interested in the process of decay or, more broadly, change. The ways in which nature will adapt and re-align itself when introduced to a transitioning atmosphere. I try to take a dispassionate approach to the longevity of my work, whether it consists of organic matter or not. I seek to challenge our traditional timescale, wherein some object are considered frozen in time, a product of a harsh chemical realignment. On a cosmic timescale, however, matter is shown to be
in a constant state or change. By working in clay, I seek to exploit the material’s strong connection to the earth. I want to show that all ceramics, even the ancient fired works of east Asia, will eventually decay and give life to something new. In a sense, it is not decay at all, but an iteration of nature at work. In my work, I seek to speed this process up, illustrating the tug-of-war of physical and biological forces, leading to a paradoxical cycle of creation and destruction.