PROJECT NETWORK CATALOGUES
Here we have gathered some of our print catalogues from Project Network throughout the years. Please take the time to look through some of our artists’ inspiring and beautiful ceramic artworks.
In the works I made for Project Network I worked with both the human figure and vessels. I like to merge those two subjects. This has also happened a lot throughout art history. From an interpretational perspective it could mean that humans see themselfs as vessels of some kind, containing a soul for instance. But I am not a friend of interpretation. I am more interested in the formal possibilities this merging of subjects offers me and in the uncanny moment, when one drinks from a cup that is also a head. The works are in between objects of utility and sculptures. But they are rather images of objects of utility, than being actually meant for usage.
These artworks have been developed in response to my research into figures of spirituality and mysticism in conjunction with a study of classical sculpture.
there are blank spaces
If we stop imagining, they will be empty
Blank space creates another space
And someday it will become my own universe
An artist’s relationship with material is one of collaboration. That is to say, as one makes from material the material simultaneously makes the artist, or rather draws the artist out.
With each interaction emergence folds over itself, so that both material and artist are forever in a state of becoming.
Thailand, Guardian of the Gates
Thousand years, have we stood.
Forgotten we were, as always we though protect.
Thousand years, still we stand.
Evolved we may have, the same we shall be.
UK, A Human Horse Relationship
The ceramics I make explore the intimacies of human-equine relationships. I wish to promote the sentiment arising from daily interactions when caring for a horse, that result in a unique bond. My forms reference equine silhouettes, using the lines and contours of horses when laid down, in gait or standing, exploring those as both sculptural forms and vessels.
This particular body of work focuses on the attributes of historic and contemporary Danish human-equine relationships, using references of native Danish breeds, the unique bond held between King Christian X and his horses, and modern day horsemen in Copenhagen.
My interest in creating objects that promote engagement with ceramics in our daily lives has been one of the main inspirations for my work. The forms of these porcelain containers are designed with careful consideration towards multiple functionality and visual simplicity.
I seek a dynamic and collaborative relationship with clay, the core material of my practice. Working abstractly and directly with the material in different stages of plasticity, my work is process oriented and expressive. I stretch, rip, roll, push and pull the clay around and then further manipulate it. A rather intuitive approach, I embrace chance and work with an immediacy. I explore the tactile and emotional qualities of the material and the act of making. The artist’s hand is wholly evident, even aggressively obvious, as my fingers are my primary tools of intervention. I push the material to collapse and near ruin in search of new aesthetic discoveries. Time, movement, the inherent simplicity of the material and existence are marked. I feel while I am making what I cannot say and I hope to make visible the impossible to describe.
Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday
Morning, evening, at work
on a bus, at a picnic, in nature,
on the beach at the breakfast table, before bed
Children, adults, the elderly
Us, you, them
Do we share the same interests or the same program?