[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.

Güler Oğuz.
Bulut mu Olsam // Shall I be a Cloud

Bulut mu Olsam
Denizin üstünde ala bulut

yüzünde gümüş gemi

içinde sarı balık

dibinde mavi yosun

kıyıda bir çıplak adam

durmuş düşünür.


Bulut mu olsam,

gemi mi yoksa?

Balık mı olsam,

yosun mu yoksa?..

Ne o, ne o, ne o.

Deniz olunmalı, oğlum,

bulutuyla, gemisiyle, balığıyla, yosunuyla.


Nazım Hikmet Ran



Shall I be a Cloud
A multicoloured cloud over the sea

a silver ship on it

yellow fish in it

blue moss at the bottom

a naked man on the shore

he keeps thinking


Shall I be a cloud

or a ship?

Shall I be a fish

or a moss?

neither that nor this nor this

Man should be a sea, my son

with its cloud, ship, fish and moss.


Nazım Hikmet Ran

(Translated into English by Celal Kabadayı)

Marisa Hricovsky

Risa’s artwork punctuates space through pattern, colour and her use of the multiple. Working though dichotomies such as order & chaos, attraction & repulsion and two-dimensional & three-dimensional, she makes visual poems about perception.


Risa’s work juxtaposes similarly coloured materials with opposing properties, such as fired porcelain with paper. In doing so, each material takes on characteristics of the other, giving rise to misperception and subtly introducing tension within the calm of repetition. Through this mimicry and indexical object making begins a critique of our ideological perceptions of different materials.

Brendan Fuller.

Guldagergaard houses some of the world’s most intriguing wood kilns. Within these kilns, flames and ash inundate the clay creating deep, naturally occurring colours and glass surfaces.


I have worked to control and manipulate this atmosphere creating juicy surfaces on simplistic forms. These vessels are intended as a vehicle to deliver the results of firing experiments in a constant search for a surprising outcome.

Liz Langyher

Desensitized, decontextualized, recontextualized, broken again, forgotten, mislabelled, translated through decades and dozens of languages and hands; the artefact is prized for its innate connection to what is lost; it is a desperate and glorified reference point to the unknown. Telephone poles, wind turbines, dams, landfills, highways and homes; when once removed from our cultural context and understanding each will perform as abstract artefacts and monuments to the land legacies. The creation of objects also follows this path as memory and making collides into an object, an object being the symbol of time and experience. I create objects that reference and act as artefacts to present crucial change of perspective in order to see past the present and into the human relationship with object and environment. I do this as an act of personal catharsis, a eulogistic act for a stretch of land and a road and the time between many miles. In this way, the work is a map filled with a complicated language of what has been, what is now, and what will be.

Rudi Morris.
Take It With You

In Scandinavian burial mounds there isa Custom to miniaturise burial objects completely removing their function, however a phantom suggestion of use remains.


I am intrigued by the significance of sacrificing an object so it can be used in the next life. Burial items form a transition between this life and the next world, but what do we need on the other side and how much do we take with us?


Through my work I want to capture this curiosity of possible use. Questioning how something could be used, what could it hold? What does it protect? Curious relics of possibility.

Faith Connor
Emotion and Repetition

Spontaneous, expressive decisions and the rigidity of compulsive, repetitive movements is what I am drawn to in my work. To instill in my pots a sense of personality and character, I project my own emotions and feelings of containment and discomfort into either quick altering of simple thrown forms or sketching figures on to the surface.


The two methods provide an outlet for my depression and how I use my ceramic practice to cope and to convey to others my own struggle. These forms are then paired with a tedious movement that mimics the anxiety and disquiet that is also a part of my life. Together, the dialogue between these two aspects creates an illustration of my personal experiences as well as a connection between how and why I make pottery.

Rhiannon Raw-Rees.
Breaking Bread

Fascinated by the act of eating, how we eat and what we eat from. I have created sculptural headpieces, which reference the everyday plate. Designed specifically to present and serve food playfully, creating an occasion which challenges individuals to have a new interaction with food and one another. With this, I push tableware to become more then the surface between our food and table.

Sarah King.
South Africa
To Muse Over Mud

The act of obsessively constructing and arranging in a repetitive manner is a compulsion I am wholly familiar with. This collection of work embodies an exploration between my incessant need to achieve a sense of control through the processes of ordering and repetition, while mediating with the conflicting notion of chance.


A method of hand building is the primary focus of my expression. It is employed as a means to create simple forms in which manipulation through the act of piercing, cutting and threading is used. These practices express my need and desire to create order, while embracing aspects of unpredictability that ensue through the fine use of the porcelain clay body, and the firing process. In contrast to these unintended happenings, the threading process is an invitation for a more controlled manner of working.

Maria Jonsson

Process and materiality are two important components in my practice. Within process I get to know the material with my body which is exposed for and engaged in repetitive movements, and physical challenges; materiality creates the connection between body and process. It`s time consuming nature leads to a meditative state.

Mellaney Ruiters
South Africa

This particular body of work was driven by an experimental process of combining a mechanical method using a 3D clay printer with the artistic notion of creativity. These approaches were used to develop a series of thin paper porcelain artworks that portray fragility, testing both the mark making and the construction methods.

International Ceramic Research Center

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DK-4230 Skælskør

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