Interviews

Earthling Candyman

Explorer

Can you tell us something about yourself? Where do you live and work?

I’m British by origin, was brought up in the North of England in York. After initial study came to Amsterdam, NL, and have been based here since ’93.

Where did you study ceramics or another art discipline?

Like I said I studied first in the UK, Foundation studies in York, and then a BA at Manchester Polytechnic (now Manchester Metropolitan University). During that time I also spent some time at Alfred University in the US.
In the early nineties I undertook another study in the Keramiek Afdeling at the Gerrit Rietveld Academie in Amsterdam, actually the reason I moved to the Netherlands in the first place. Then I completed my studies with an MA at the Sandberg Institute also in Amsterdam. During that MA I also spent some time at Pratt Institute in Brooklyn, NYC.

Which reasons do you have for choosing clay as means to express yourself or realise your ideas, concepts or forms ?

It’s obviously developed over the years, as well as it being a natural progression of the experiences and preferences I have had in my life and career, it also has the flexibility of a plastic material and carries an additional identity as material which one can utilise, or not, in any number of ways. I like the control, and also the lack of it, the material offers.

What was the starting point where from your current work has grown?

Again, the work I’m involved with now has developed over a long period of time. It’s difficult to say exactly where certain inspirations begin, let’s say that there have been many points at which the inspiration begins.

Which message you hope to convey to your spectators?

Some messages are distinctly personal, and give a certain drive to the work, some have very much to do with what I see and experience around me at the moment, or at a given point in time. There are so many influences important to me that they come together to form a unique view on the world, or at least I hope they do. Some commissioned work I’ve followed specific wishes too from a certain brief, which combines with my own vision of the world and our place in it.

Explorer Delfts Blauw

Which importance has design in your work and what is the relation between design and clay?

Well, I’m sure you can see that I don’t work as a designer but as a fine artist. Though I appreciate very much the potential and qualities apparent in high standard design which can also include clay. Though I would also say that my commissioned work has some element of design in it. Not sure the boundaries are that clear or really that important these days.
Clay also carries such a strong message as material itself that the use of it must influence the design it’s incorporated in too.

What is the meaning of colour for you and your work and what is the relation between colour and clay?

Colour is as fundamental to the work as clay itself. By that I mean obviously the clay itself imparts colour to a work or form. For me it is another very important part of the process. Equally valuable and useful to putting across ideas and concepts.

What was for you the most important moment in your ceramic career?

Study year at Alfred University in 1987

Which artist is or has been an inspiration for you?

Well, at different stages in one’s career you’re interested in any number of different things, at least that’s how it’s been for me. Artists such as Gerhard Richter, Wim Delvoye, Huang Yong Ping, Cai Guo Ciang, Louise Bourgouise, Tony Cragg, a long list.

Which ceramic works and ceramist do you admire in your own country and internationally?

Mark Manders makes interesting work, Guido Geelen too. Jan Oosterman for his influence, Geert Lap’s thrown work. Tony Cragg has made some very nice works over the years though you wouldn’t think of him as a ceramist of course.

Kupfernickel (Green)

Staand

Zittend

Can you remember the best ceramic exhibition you ever saw?

Anthony Gormley ‘The Field’

Do you have a gallery where we can see your work or where you exhibit frequently?

Galerie De Witte Voet     www.galeriedewittevoet.nl

Do you have one or more exhibitions in the near future?

Just had a solo exhibition at Galerie De Witte Voet. Some works will be shown in the Oude Kerk in Delft, opening April 23rd 2011 as part of the Galerie Terra festival there.

Do you have a website?

www.nickrenshaw.com

________________________________________________________________________________________________________________________________________________________________________________________________________

Can you tell us something about yourself? Where do you live and work?
I live and work in Haro, small city of La Rioja, in the North of Spain, There is a beautiful countriside and a lot of winecellars.

Where did you study ceramics or another art discipline?
I studied in Masana’s School of Barcelona.

Which reasons do you have for choosing clay as means to express yourself or realise your ideas, concepts or forms ?
Not any reason in particular. I just fell in love with the material.

What was the starting point where from your current work has grown?
It has been a continuous develloping during my proffesional life.

Which message you hope to convey to your spectators?
My intention is that my pieces have his own voice.

Which importance has design in your work and what is the relation between design and clay?
Mostly I don’t design anything, my work is direct, looking for the surprise in the developping.

What is the meaning of colour for you and your work and what is the relation between colour and clay?
Sometimes I am interested in the colour as a main part of my work but other times, as currently, I am focused on the shape and then I only use natural colours, such as black and white.

What was for you the most important moment in your ceramic career?
The first time I discovered a piece what appeared to me just mine.

Which artist is or has been an inspiration for you?
A lot.

Which ceramic works and ceramist do you admire in your own country and internationally?
In Spain, Claudi Casanovas, Ángel Garraza, Rosa Amoros, Enrique Mestre…and internationally, Jun Kaneko, Paul Soldner and many more…

Can you remember the best ceramic exhibition you ever saw?
There are several ones, in particular, “Adventures of the fire” in South Korea.

Do you have a gallery where we can see your work or where you exhibit frequently?
There, in Belgium, Puls Gallery in Bruxells.

Puls Gallery

Do you have one or more exhibitions in the near future?
Immediately, in Paris, Holland and Mexico.

Do you have a website?
www.rafaperez.es

Best regards,

Rafa

________________________________________________________________________________________________________________________________________________________________________________________________

Can you tell us something about yourself? Where do you live and work?
I live and work in London.


Where did you study ceramics or another art discipline?
I studied Ceramics at Bristol Polytechnic (now called The University of West of England)
Which reasons do you have for choosing clay as means to express yourself or realise your ideas, concepts or forms ?
I love the way it’s so malleable and so forgiving

What was the starting point where from your current work has grown?
Contemporary dance and movement

Which message you hope to convey to your spectators?

The fragility and beauty of our planet

Which importance has design in your work and what is the relation between design and clay?
Of course design is important but with me, an idea comes first.

What was for you the most important moment in your ceramic career?
Early on in my career when Henry Rothschild bought one of my pieces for his collection. It gave me the oomph to carry on.

Which artist is or has been an inspiration for you?

I don’t know but I love Marcel Duchamp

Which ceramic works and ceramist do you admire in your own country and internationally?
Gordon Baldwin, Walter Keeler

Do you have a gallery where we can see your work or where you exhibit frequently?

Contemporary Ceramics Centre, London

Do you have one or more exhibitions in the near future?

No, I am spending some time developing new work.

Do you have a website?

_______________________________________________________________________________________________________________________________________________________________________________________________

:

::::

:::

:


::

Can you tell us something about yourself? Where do you live and work, where did you study ceramics or another art discipline?

I live in Belgium, Luik (Liège).  I studied sculptural ceramics in Namen (Namur) at the Academie of Art and  I have a studio between those two cities.

I did higher ceramic studies in Doornik (Tournai) from 1983 till 1987.  Later I went to Brussels to studie urban and rural areas at ‘La Cambre’ in Brussel (Brussels).

Which reasons do you have for choosing clay as means to express yourself or realise your ideas, concepts or forms?

I liked the clay already from when I was a child.  I like it to have the clay in my hands.  I’m fascinated by the proces of firing the clay.  The process that makes stone from clay touch my thoughts?

What was the starting point where from your current work has grown?

That was when I deconstructed a work of art and spread the elements throughout the space.  For more than 20 years, I make small and large hand-build forms, containers using the coiling method. … At that time, I felt limited.  I didn’t like the static nature of a unique piece.  I had a lot of questions about my work.  Suddenly I felt that leaving the coiling methode would give me a bigger range of possiblyties.  I could create a hole new univers that looks also very fresh.

:

:

:

Which message you hope to convey to your spectators?

A peacefull sensation.

Which importance has design in your work and what is the relation between design and clay?

I use it to sketch the drawing movements, rhythms, routes.

:

:::::

:::

What is the meaning of colour for you and your work and what is the relation between colour and clay?

Color is not a factor in determining my achievements. It is natural clay or colored oxide.

What was for you the most important moment in your ceramic career?

That was when I deconstructed a work of art and spread the elements throughout the space.  For more than 20 years, I make small and large hand-build forms, containers using the coiling method. … At that time, I felt limited.  I didn’t like the static nature of a unique piece.  I had a lot of questions about my work.  Suddenly I felt that leaving the coiling methode would give me a bigger range of possiblyties.  I could create a hole new univers that looks also very fresh.

Which artist is or has been an inspiration for you?

Giuseppe Penone, Roman Opalka.

:::

::

Which ceramic works and ceramist do you admire in your own country and internationally?

In Belgium : Bauduin Ooterlinck, Fred EerdeKens
In my area, I am touched every time by the work of Vincent Beague and those of Anne-Marie Laureys, two true and very friendly artists. Internationally, in Quebec, I like the work of Gilbert Poissant from whom I really like the signs, the relationship to space.

Can you remember the best ceramic exhibition you ever saw?

‘D’immatériels lendemains’ , In the Royal Museum of  Mariemont

Do you have a gallery where we can see your work or where you exhibit frequently?

In Brussels: la galerie de céramique contemporaine, Galerie de l’Ô (www.galeriedelo.be)

In Brussels: la galerie d’Artistes en Communauté française, La Galerie.be (www.lagalerie.be)

Do you have a website?

www.nathaliedoyen.be:

:::

::::

::::

;;

;;

;;;

picture 17

picture 13

Can you tell us something about yourself? Where do you live and work?;

I was born in Beer-Sheva, Israel and live now in Rehovot Israel.
I have a PhD degree (1990) in Immunology from the department of Tel-Aviv University Human Microbiology, Sackler School of Medicine Israel.
For 2 years I was a Project Manager at Biotechnology General, Rehovot.
Post Doc position (1992 – 1996) in the Biochemistry Department, Hebrew University Medical School Jerusalem Israel.
Since 1996 I have been as a Senior Scientist at the same Department.
Trained in ceramics for two years (1994-1996) at the Rehovot Culture Foundation.
In 1996 I established my own studio. Since then I am an active ceramicist in parallel to my position as a Senior Scientist.
My works were exhibited in Israel and at International Exhibitions [Europe (several countries), South Africa, Australia and South Korea]. I won several International Awards. My works have become part of both private and museum collections.
Science is a continuous stimulus for me; it has broadened my creative thinking; it has pushed me to experiment and taught me that patience and perseverance lead to improved results. Art and science are integral part in my life; although following both careers involves hard work (nights and weekends are dedicated to ceramics). I’m not preparing to give up one or the other. My analytical mind is well attuned to intuitive and creative possibilities; they successfully combine and complement each other.

picture 1

Where did you study ceramics or another art discipline?

I took ceramic courses for two years (1994-1996) at the Rehovot Culture Foundation. The courses were mainly on wheel throwing and glaze preparation. Most of the knowledge accumulated after that is self-thought and from the literature.

;

;;;

;;

;;;


;;;

picture 8

picture 9

Which reasons do you have for choosing clay as means to express yourself or realise your ideas, concepts or forms?

I have always been fascinated by the elusive harmonies created when a precise controlled architectural element is brought together with intricate surface designs and colors to generate the complete object and induce an aesthetic as well as intellectual stimulus. The plasticity of clay allows me to explore these processes.
I have used in the past wheel throwing and sawdust firing, and experimented with the relationship between the clean minimalistic shapes and “storm” of surface colors generated by the spontaneous movement of the fire.
Combination of slab building and naked raku techniques, gives me more flexibility and ability to work on more complex relationships, and I have been using these techniques for six years.

What was the starting point where from your current work has grown?

The significant change happened from the time that I focused on sculptures that enabled me to deal with the issue of shape-surface-volume relationship.

picture 3

Which message you hope to convey to your spectators?

I use ceramic sculptures to investigate the elements of ambiguity and dynamic of opposites. These are achieved by exploring the ratio between mass, volume and space. In my works I’m dealing with issues such as tensions between polarities, with fragmentation and constructions and with illusions. These concepts are guidelines for my treatment of space in the context of surface-volume relationships. The division of the body surface between white and black, as well as the use of lines softens the shape(picture 1-2), simultaneously placing the grid or lines on the edge of the shape, so that they follow the shape, completely dissolve the hard lines. Viewing from different angles, surface and volume are blurred, giving an illusion of flatness (picture 3-6).
This idea is strengthened and extended by working with pairs7-8 or creating a composition of a few units9, where new volumes and planes are achieved by way of the lines or grid are virtually joined; the ratio of parts to the whole is changing and two and three dimensions are played against each other in a sophisticated manner (picture 10-12).
While the black sculptures may seem massive and heavy, their weight is light when actually lifted. Their stance appears fragile when placed on their convex side, but they are full of energy and movement. Once again, the duality of heavy-light, stability versus instability, negative and positive shapes, contrast between appearance and reality, comes to the fore.
In my recent work, I focus on tension and balance through the juxtaposition of forms upon one another. Different levels of relationships are created at the contact point between the bodies; physical balance, ratio between the geometric surfaces pattern and the structure of the bodies and the tension between the surface and the amorphous patterns resulting from the raku technique (picture 13-17).

;;

;;;

;;;

Which importance has design in your work and what is the relation between design and clay?

My body of work deals with the construction of architectural geometrical shapes, their fragmentation, and the rapport generated when they are combined to form an assemblage. The use of the geometric design on the surface adds another dimension to each object on its own, but also has an impact on the fractures between objects in a group, as the flow of lines and shapes redefines the significance of each shape and gives a visual perception of unity and harmony to the work.

picture 6

What is the meaning of color for you and your work and what is the relation between color and clay?

I use only black and white, mellowed by the spectrum of in-between shades of grey, all characteristic of smoke-fired raku, while exploring and searching for harmony, to make my ideas sharper and more attractive.

What was for you the most important moment in your ceramic career?

The turning point in my career was receiving second prize in 26th Concurs International competition de Ceramic, L’Alcora, Spain (2006), which was followed by the break-through of exhibiting at important International Exhibitions, rather than local Israeli ones.

Which artist is or has been an inspiration for you?

I admire and was inspired by the steel sculptures of Richard Serra.

Which ceramic works and ceramist do you admire in your own country and internationally?

Daphne Corregan, Kaneko Jun, Yeung Yuk Kan, Bodil Manz and Gordon Baldwin.

Can you remember the best ceramic exhibition you ever saw?

The 4th International Ceramic Biennale, Korea, 2007.

Do you have a gallery where we can see your work or where you exhibit frequently?

There are no ceramic galleries in Israel, only a few Ceramic Cooperatives, which are actually ceramic shops. My works can be seen in my Studio in Rehovot or in the Eretz-Israel Museum Gift Shop, Tel-Aviv, Israel.

picture 7

Do you have one or more exhibitions in the near future?

At the moment, my work is exhibited in a group exhibition, the 6th Biennale for Israeli Ceramics, “Ceramic Design: Techno.Logical Implements” at Eretz-Israel Museum, Tel-Aviv.
There are additional planned exhibitions in 2011.

Do you have a website?

picture 2

www.simcha-evenchen.com

Simcha Even-Chen

picture 10

picture 12

________________________________________________________________________________________________________________________________________________________________________________________________________

.
.
.

..
.
Can you tell us something about yourself? W
here do you live and work?

I live in ‘s-Hertogenbosch, the Netherlands for over 33 years. It is the home town of the painter Hieronymus Bosch who I admire very much.

Where did you study ceramics or another art discipline?
I studied first in Tilburg at the academy for Art Teachers. After graduation I decided to focus on ceramics and moved to the Art Academy in ‘s-Hertogenbosch.

Which reasons do you have for choosing clay as means to express yourself or realise your ideas, concepts or forms ?
Handling clay has a very strong link to immediate visible feedback. Every touch of the hands leads to an instant transformation of form. No tool, no noise; very basic. For me it is not so much the actual feeling while dealing with clay but the visible  feedback that is important. But the most important reason I am involved in ceramics is that the process forces me to look. During the different stages in the process vast changes occur with forces me to reestablish my relation with the work in progress over and over again. Keeping an open mind.

What was the starting point where from your current work has grown?

Often an observation, coincidence or a previous work is the trigger for a new work.  How we as species are dealing with our surrounding and the process of attributing meaning are things that are intriguing to me and are often an important part of the concept of my pieces.

Which message you hope to convey to your spectators?
I am not so much into conveying a specific message; I hope my work evokes concentration and attention.

What is the meaning of colour for you and your work and what is the relation between colour and clay?
I am very intrigued by colour but use it only sparingly; only when it enhances different layers of meaning within a piece. I am not interested in beautifying or relaism.

What was for you the most important moment in your ceramic career?
The discovery, as a student during graduating, that a ceramic support made for holding a piece in the kiln was the best piece I had made up to that moment.

Which artist is or has been an inspiration for you?
Tony Gragg, Johesph Beuys, Mark Manders, Jun Kaneko and Guido Geelen.

Which ceramic works and ceramist do you admire in your own country and internationally?

Mark Manders and Jun Kaneko

Can you remember the best ceramic exhibition you ever saw?

Guide Geelen in de Pont in Tilburg around 1992

Do you have a gallery where we can see your work or where you exhibit frequently?
Galerie De Witte Voet in Amsterdam, the Netherlands                                                         www.galeriedewittevoet.nl/

Verzameld Werk in Gent, Belgium                                                                                               www.verzameldwerk.be/

Do you have one or more exhibitions in the near future?
2 April – 7 May at Galerie De Witte Voet, Amsterdam.

August at the Australian National University in Canberra, Australia.

Do you have a website?

www.antonreijnders.nl

_______________________________________________________________________________________________________________________________________________________________________________________________________

_______________________________________________________________________________________________________________________________________________________________________________________________________


,

,

,

Can you tell us something about yourself? Where do you live and work?

I am Mexican, I work mostly at my studio in Zoncuantla in the state of Veracruz, in Mexico. But I also work, a few months every year, in the atelier of my partner Brigitte Pénicaud in France, at Les Places, close to Argenton sur Creuse.

Where did you study ceramics or another art discipline?

I studied for two years at Escuela de Diseño y Artesanías in Mexico City (1971-73). Then, after some ten years of work, I had a grant to study for two years in the Sint Joost Akademie voor Beeldende Kunst, in Breda, in the Netherlands.

,

,

,

,

,

Which reasons do you have for choosing clay as means to express yourself or realise your ideas, concepts or forms ?

Many times I have said I did not really choose clay; I have the feeling that in fact clay chose me… for several years I had been looking for something to devote my life to, it was a difficult time. But the moment I smelled (!) clay in an atelier, and I saw a throwing wheel, I knew that was the activity I had been looking for.

What was the starting point where from your current work has grown?

The throwing wheel, it all starts there.

Which message you hope to convey to your spectators?

I hope it can be understood that if one wants to be creative with clay, craftmanship (le métier), is essential. I am convinced of the necessity to give everything one can give, and for many years, before a personal way, a personal language can be discovered. For me it took some 22 years before I could feel there was something that I could call really mine.

Creativity is a deep mystery, something like source that does not flow until a certain personal “position” (an attitude, a confidence, an openness) is found. And this sort of secret cannot be transmitted, it has to be a personal discovery after a lot of work… so, the only possible idea to transmit would be this: you need to work and work and work…

Which importance has design in your work and what is the relation between design and clay?

It is important. Because while in fact what I do in my research is mostly playing with the possibilities that appear along the development of series of pieces, I am aware that I always do it in a certain quite systematic way: going from one piece to the next as in a game, trying just every idea that comes to my mind.
And about the relation between design and clay, I can say that I cannot see at all a border separating art and design. Or at least I do not care about it.

What is the meaning of colour for you and your work and what is the relation between colour and clay?

Colour seems not to be as essential for me as form and surface treatment. For some years, while my work concentrated basically on the graphic aspects of what can be done on a pot’s surface, I had the feeling that a good black glaze was all I needed to develop my ideas. However, nowadays I am convinced there has to be a certain presence of colour in my work, because I definitely feel some few colours that belong to it: subdued, natural… colours that are close to earth, to the colour of clay itself.

What was for you the most important moment in your ceramic career?

I guess it was the moment when I discovered, by accident, the effect produced on the wall of a thrown piece by making an incision open as in a wound. What Garth Clark called “the gentle cuts”. This discovery produced without a doubt the international recognition for my work. And I must say that I felt a profound pleasure in realizing that such a simple effect (because it is indeed a very easy technical resource) had never been used in the thousands of years of ceramics history, ot at least, never had been really developed.
A strange thing is that nowadays there are many young ceramists using this effect on their work (which is alright with me, I never tried to keep it as a secret or a personal “property”), and even some that claim to have discovered the effect themselves… which is not for me as easy to take. (Of course you are aware, because it happened in your own Keramiek Atelier page, of a discussion around such a situation)

Which artist is or has been an inspiration for you?

Just too many. But to mention one, Brancusi.
Or to mention two: Schubert
Or three: Rembrandt… Picasso, Francis Bacon, Paul Klee, etc…

Which ceramic works and ceramist do you admire in your own country and internationally?

In Mexico I respect the work of Jorge Wilmot, from the generation before mine.
And internationally…. many:
First: Hans Coper, a deep influence.
Also, from the past, Kanjiro Kawai.
From our times, there are really many whose work I follow with interest. I cannot mention them all (I will forget many important ones) but in a fast recollection I would say: Gordon Baldwin, Claude Champy, Claudi Casanovas, Lawson Oyekan, Peter Voulkos, Bernard de Jonghe, Johan van Loon, Enrique Mestre, Yasuo Hayashi, Eva Hild, Alison Britton, Tatsusuke Kuriki, etc.

Can you remember the best ceramic exhibition you ever saw?

Maybe Claudi Casanovas at Boijmanns Museum in Rotterdam, 1982 (?)

Do you have a gallery where we can see your work or where you exhibit frequently?

The Frank Lloyd Gallery in the USA                                       http://franklloyd.com/

Loes en Reinier, Deventer, Nederland                                     http://loes-reinier.com/

Puls in Brussels                                                                               http://pulsceramics.com/

Galerie Capazza, Nançay, France                                             http://galerie-capazza.com/

Galerie de l’Ancienne Poste, Toucy, France                           http://galerie-ancienne-poste.com/

Do you have one or more exhibitions in the near future?

At the Frank Lloyd Gallery.                                   March 19
Puls.                                                                               September

Do you have a website?

It is under construction, almost ready

Thank you very much.

Graag gedaan
Hartelijke groeten,

Gustavo Pérez

,

,

,

,

,,,,,

,

,,,,

,

,,,

,

,,,,,

,

,,,,,

,

,,,,,

,

,,,,,

Advertenties

Geef een reactie

Vul je gegevens in of klik op een icoon om in te loggen.

WordPress.com logo

Je reageert onder je WordPress.com account. Log uit / Bijwerken )

Twitter-afbeelding

Je reageert onder je Twitter account. Log uit / Bijwerken )

Facebook foto

Je reageert onder je Facebook account. Log uit / Bijwerken )

Google+ photo

Je reageert onder je Google+ account. Log uit / Bijwerken )

Verbinden met %s