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.
Primarily acting as a memorial to the 1933
Nazi book burnings, where over 25,000
volumes of text were deemed “Un-
German” and subsequently destroyed: ‘Where
They Burn Books,’ references the power,
resilience and preciousness of knowledge,
which is made increasingly apparent through
the act of burning books for the purpose of
By strengthening these ceramic objects through
the firing process; they stand as martyrs to
freedom of speech, and in a contemporary
context, they celebrate current societies
unprecedented access to text and information.
Displayed amongst the installation are
dark forms, which were created from the
compressed ashes of every book used to
create this work.
The title acknowledges the writing of
nineteenth-century German Jewish poet,
Heinrich Heine, whose play Almawnsor (1820-
21), was burnt in 1933 Germany. Within his play
Heine wrote: “Where they burn books, they will
also ultimately burn people.”
Denmark is a pioneer country regarding
developments in renewable energy.
This revolutionary push away from
the import of fossil fuels and toward windpowered
energy ultimately came from the
citizens of Denmark in late 1970. Danish
citizens along with local initiatives installed
some of the first turbines in Denmark with
little expectations. Now nearly 91% of the
population supports the Danish Wind Industry
Association and the production of wind energy
via turbines. Not only have they become an
advancing industry, but they are also founded
on ideas of long-term planning, collaboration,
ethical value chains, environmental focuses,
and high quality control.
By bringing this topic into the gallery setting,
I hope to shine light on the success of an
industry that was driven by community.
My work is a reflection of my research
into temporary spaces and the
objects which rest within them.
Building sites, markets, workshops and
road sides are all areas of transition and
activity which are often overlooked as areas
of beauty. By collecting and consolidating
my experiences of these found objects and
compositions through ceramic and other
materials, I seek to question how we view
In this new series of works I have enjoyed
playing with different ceramic processes
and sculptural forms to create scenarios
for potential processes. Hinting at a human
presence and using pressure, tension and
material groupings to create a purpose for
My work is motivated by an interest
in physical and psychological
responses to material and form. I
investigate this using the formal, metaphorical
and material potential of white clay bodies.
This body of work explores and invites a
reconsideration of fragility. The tension that
fragility creates is inherent in both the making
process and in the fired and unfired outcomes.
In exploring the nuances of my chosen clay
bodies, I aim to question our expectations of
I use clay as narrative material to explore
and express human body language. How
we interact with each other without words
fascinates me. My figures develop while I
work and they have a life of their own on the
edge of reality.
I aim to show the interior – often hidden –
troublesome emotional life, which I think
makes us human. By using displacement and
movement within my figures, I want to create
the feeling of discomfort and detachment.
Woodfiring gives life to my figures. I find that
being in the moment and looking after the
wellbeing of the woodkiln ignites me too! I see
my work being a collaborative process with
both the clay and the kiln.
Growing up in the Rocky Mountains of Canada,
I have always felt held in by their walls;
through the medium of clay, I play with this
sense of containment, creating spaces for people
to enter into within the context of their daily lives.
Working through function, I create spaces from
which to draw sustenance in a literal way; this
references the sustenance I draw metaphorically
from the landscape which is so important a part of
The series of ceramic cups that I have made during
Project Network are very much a response to this
specific place and the group of people that have
occupied it during my time here. In the spirit of
Guldagergaard as a ceramic research center, I
experimented with many of the different clay bodies
and kilns that were available here. However, I
simultaneously restricted my decorative color palate
to gold, silver, black, and white to reflect the simple
and elegant Scandinavian aesthetic I saw all around
me in Denmark.
Finally, for the gallery piece I chose to have the
Project Networkers, plus Nathan, Harriet, Ana,
and Rhiannon, pick one piece from all the work I
produced here. These pieces went into the gallery
as a grouping; however, when the time came for
each person to leave Guldagergaard, they took
their chosen piece with them. For me, this reflects
the fact that my time here was as much about the
people as it was about the studio and the work itself;
as each person leaves they take with them a crucial
ingredient to the group dynamic. One could see this
as a sad thing, and perhaps it is in the short term.
However, it is also a great gift (just as I have given a
small gift in return, for my part) to have been a part
of this group, and to know that the group will come
back together in the future, whenever that will be.
I put together, I pull apart. I decode and
encode … Using small shifts in logic and
connotation: my work creates meaning
via actions, words, images and objects. The
work carries a logic of it’s own inviting the
viewer to read and re-read.
I generate art that observes, contributes and
critiques popular culture. My current area
of research is focused in the sexualized
portrayal of women in mass media and social
Specifically, I am interested in the spread of
everyday stereotypes strongly influenced by
pornography. These stereotypes represent
women as de-personalized objects to satisfy
one’s desire. These images are part of
our everyday life and my work means to
shine lights on their repercussions: the
hypersexualization of the young generation,
the standardization of beauty of both men and
women, the enhancement of gender roles, and
the objectification and self-objectification of
This body of work borrows lyrics from songs
that made it on the Billboard Hot 100; the
music industry standard record chart in the
United States. The rankings are based on radio
play, online streaming, and sales.
Using various mediums I question how
material affects the way we approach
and handle objects. My work explores
the use of toys as tools to facilitate play. Parts
are arranged, stacked high, rearranged,
Short story long – stay a beginner.
Logic, strategy and systems form the
base of my process. Conceptually, my
work investigates a range of personal
experiences and interests expressed through
the use of multiples. The work is created
through gestural movement and a methodical
attention to detail, which is expressive of a
desire to understand my chosen medium. My
installations echo the multitude of possibilities
offered by traditional ceramic processes, while
simultaneously questioning the role of ceramics
within contemporary art.
This project (201 – 701) investigates the
spectrum of red. I am exploring this through
the development of 1000 different red glazes.
Each number represents a glaze recipe. The
diversity of results reflects the clay body, firing
method and unpredictability of ceramics.
Therefore, certain numbers are repeated to
display differing results.
201 – 701 exhibits my interest in research
methods and clarity. However; this is not
at the expense of beauty, making this work
accessible to everyone.
Ceramic is resistant.
The movement stops, time stands still
and it will never perish.
I would like to know more about
the things that disappear.
Water, air and fire are all
They have been here forever,
but they always change.
I want to lend them, just for a while.
To make a living still life,
for people to sense.
My work lies on the border of order
and chaos, enthusiasm and restraint.
The fire acts as a collaborator but will
ultimately have the final say.
“Yet from those flames no light, but rather
(John Milton, Paradise Lost.)
When we blow bubbles, they get
bigger and bigger slowly, but they
suddenly burst, just like the foam
bursts under the sunshine. The most beautiful
thing of the foam is the crystal clear when it
bursts under the sunshine, and I just want to
record this wonderful moment.
I believe everything is a result of
everything. Everything I do has a purpose,
and every experience I go through is
because my body acts the way it does. The
body needs to experience before it can reflect.
Water shapes the stone, as my experiences
The time and action of making plays an
important role, where the dialogue between
the material and my body, with their abilities
and restrictions, work as the framework for
my process driven practice. Inspired by the
philosophy of Slow Art, I use repetition and
make rules that serve as limitations. These
can also be seen as rituals.