2014-03-24

TIME & SPACE - Bodil Manz - April 2014

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TIME and SPACE - Bodil Manz
Exhibition 3 April - 3 May 2014
(Closed during Easter 12-21 April)

Contexts - assemblage of ceramic pieces in time and space..
Bodil Manz has been called the Graphic Artist of Ceramic Art par excellence, whether she draws in a slender, delicate line as a personal signature, or uses coloured ceramic transfers in an infinite variety of richness.

For this exhibition Bodil Manz has identified new contexts, composed her known types of forms, images and ideas in a exciting assemblage together with new pieces.
The work expresses cultural reference and relates to places and times, reflecting a timeless sense of clarity.
Compositions, translations reveal her form and material curiosity, an analytical variance of ceramic materials and firings, - where each peace can be seen in the light of opposite philosophies. Yet her work binds together - in an indefinable sense of time and space.


Graphic lines dissipate the transparency of cylindrical shapes and create geometric plays of shadow that equal architectural built sculptures, in connection with natural raw organic sand casts where refined shades erupt through unpolished surfaces.
Refinement and elegance meet with a related series of angular shapes, brightly coloured lines and planes. The pieces' narratives condense a lifetime of work and reflect multiple contemporary expressions and inner visions reflecting a personal aesthetic, a sensitive sensual force and a sophisticated character of resoluteness.


Bodil Manz belongs to the international elite of ceramic artists represented in major museums and private collections worldwide.

Her work is characterized by a continual exploration and experimental activity, that among many other projects have resulted in wall installations, sand-cast porcelain pieces and architectural sculptures.
Bodil Manz masters the transformation of a geometric-abstract thoughts of mind from surface decoration to three-dimensional work.
She constantly challenges herself and the viewer of her work.

Bodil Manz is known for her subtle, abstract decorations on paper-thin simple forms. A detailed examination of transparent cylindrical and geometric shapes with fine colourful graphic lines and planes transforms surface decoration into three-dimensional pieces.
The cylinders, developed since 1990, are diverse in size and character, some smooth and others in relief applied decoration in coloured ceramic transfer prints that during the the firing process melt into the porcelain. The transparency of the thin vessels causes the exterior and interior decoration to combine into one composition, a magical image.

The paper-thin and transparent cylinders stand as a highlight, but throughout her career, Bodil Manz has experimented and pursued complementary challenges in expression and technique, working with the full range from her early years of expressionist works, studio and industrial production of objects to ceramic commissions and 'panels' in plaster and sand-cast porcelain.
She is a master of creating fragile vessels of personal strength, identity and poetry, and performs again and again with excellent results from new ideas and unusual aspects of her oeuvre.
Fragility and transparency are characteristics of some of the works, functional elegance and geometric ingenuity or sensual raw material and shapes contrast to others. In recent years, her constant exploration of the possibilities of the material has also resulted in the re-use of previous form elements combined and assembled into new sculptural pieces.

Bodil Manz comes from an Art & Craft's background and has maintained a close relationship to the ceramic texture and reference to 'the vessel', the container, but she has throughout a long and actively experienced life developed the tradition of function further into a unique sculptural and personal level.
The pieces express strength because of their respective character related to their creator, her passion and areas of interest, her curious ingenuity, technical methods and material knowledge.

In 2008 at the Design Museum Denmark (formerly The Danish Museum of Art&Craft), it was time to create an overview of the artist's rich ceramic career. The exhibition highlighted the full range of Bodil Manz' work from her early years of expressionist works to recent year's cylinders with geometric, abstract graphics, 'Transparent Zen'. Bodil Manz has for 40 years developed a mastery where the paper thin and transparent cylinders stand as one of the highlights. The exhibition covered her entire ceramic field from studio and factory production of everyday functional ware to ceramic commissions and magical one-off pieces.
She experiments and is still looking for new challenges in expression and technique from the panels in plaster, sand-cast porcelain and handmade paper for large geometric works.
"Artistic quality is always there when someone is truly passionate investigating something."
The quote is from an interview with Bodil and Richard Manz in 1993.
Publication of the book 'The Ceramist Bodil Manz' - New Nordic Publishing Arnold Busk, ISBN 978-87-17-03957-5. 230 pages, illustrated, Danish and English.

For the exhibition CUTS AND INTERVENTION: Bodil Manz and Bente Skjøttgaard at Copenhagen Ceramics 2012, Bodil Manz decided to examine her own ceramic history. She took apart her moulds used for previous works, recycled and reinterpreted these forms and tools for new pieces which were then assembled with new mouldings, as a kind of track of her workshop through time.

The exhibition FRAGILE in Ann Linnemann Gallery 2012 presented Bodil Manz' sets of cups with graphic compositions that was shining through the porcelain and magically revealed a new expression and tone for each new point of view. This exhibition also showed ceramic pieces by her Danish colleagues Jane Reumert, Malene Müllertz and Heidi Hentze.

Bodil Manz has travelled extensively since her graduation from the Danish School of Applied Arts in 1965, from the Escula the Disefio y Artesanians in Mexico in 1966 and the University of California, Berkeley in 1967, where she worked with the great American expressionist ceramist Peter Voulcos, to Bahrain, China and Korea.
After the meeting with Richard Manz (1933-99) at the Gustavsberg porcelain factory in 1967, they established a studio and collaborated on major commission assignments such as the Farum Swimming Pool (1978-79) and the National Museum of Bahrain (1987-88), and a production of utilitarian objects in porcelain and stoneware. Among the many awards she has received are the Thorvald Bindesbøll Award in 2001, Danmarks Nationalbank's Anniversary Foundation's honorary award in 2010, and in 2007 the Grand Prize, 4th World Ceramic Biennale 2007 Korean International Competition. She has shown numerous exhibitions in Denmark and abroad.
She is a member of the Danish exhibition group 'Ceramic Ways' and the International Academie de la Ceramique, IAC.

2014-02-28

MOVEMENT.. Exhibition March 2014

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MOVEMENT..
Asger Kristensen, Lone Borgen and Stephen Parry UK
Exhibition 6 - 29 March 2014

Experience pieces encounter with the past and present - in movement..
The exhibition focuses on established ceramic artists working with form, material and narrative in a very personal and ever reflective development – moving, meaningful and personal ceramic pieces.
Asger Kristensen exhibits elusive ceramic objects in clay and glaze, describing the contradictions in the meeting between concrete form and abstract structure - the sensitive and sensually discovered.
Lone Borgen shows with her British colleague Stephen Parry collaborative pieces, moving from the traditional vessel into an abstract dreamy storytelling world, - layer by layer revealing their personal and artistic dialogue.

LONE BORGEN DK & STEPHEN PARRY UK - by Stephen Parry
“First our work tells the story of a coming together of two artists working and living in different surroundings and countries.

Second, as a series of pots which are designed to drawn the viewer into a world that can be beautiful, but at the same time awkward and sometimes disturbing.

The beauty but also the danger of reptiles and insects have always fascinated me.
My father was a Cambridge zoologist, and I was brought up in a house full of books, with beautiful illustrations of spiders, snakes and many other creatures, sometimes even the real thing!
We have used some of these illustrations in our new work alongside images of doors, window, old sheds, and other familiar objects which we all see every day, but at the same time don’t notice.
Although we have been making our collaborative work for some years now, our work never stands still; it is a continual dialogue between two artists never compromising, always embracing each others ideas and inspirations. We have used this exhibition to express some of our early experiences and influence.
I feel that collaboration between two people – in our case two very different personalities coming together, is bound to result in some unique and extraordinary work.
In this work we have looked back at our first passion for ceramic, which includes Greek vases, and Japanese Oribe ware, but with the experience and that we’ve gained in our life’s since.
Its always difficult to know or predict what others will see in our work, but I would like to think that the viewer is drawn to our work first by the form, which is familiar and safe. When drawn closer; through our use of ceramic transfers, our intention is to immerse the viewer into another world. One that is intended to create emotion.
We started our ceramic carers in a similar way; In England in the 70’s, when the Leach studio pottery movement was at its height. Since then our work has taken very different directions, in two different countries.
My own work is much more involved with the material and process. By using kick wheels and wood firing, there is a fine balance between control and allowing the clay and fire to give its own life to my work.
Where as the strength in my work come from subtlety and under statement. In Lone’s work there is no holding back, daring, experimental, expressive are the words that come to mind.
To be able to recognise each other’s strengths, and work together can result in some exiting pieces.
Our work is thrown using stoneware clay then glazed with a mixture of glazes that are layered over each other.
The work fired to 1180 c for a long time sometimes over 20hrs, allowing the glazes to merge into each other and run down the pots. After the glaze firing two types of transfers which we make ourselves are applied, digital colours and laser print transfers, also gold lustre, then pots fired again.”

Collaborative work started in 2006 - EXHIBITIONS Gallery Clifford Daugaard 2008, Gallery Uggeby Lønstrup 2009, Naunehøj Mølle Grenå 2010, Orangeriet Interiør, Espergærde 2012-2013, Fra sans til samling, Erik Veistrup Danmarks Keramikmuseum 2012, Galleri Noerballe Augustiana 2012.
Lone Borgen has a studio in Aarhus Denmark, was educated at Croydon College of Art England 1976 and exhibited same year at Ceylon Tea, London. After eight years residency in England, she established her own studio in Denmark in 1977. Has worked as a guest teacher and lecturer at the Kolding School of Art and Design (Kunsthaandvaerkerskolen). Studies in Europe and artist residency in Mexico 1982-83 and Kenya 1997. GRANTS and AWARDS Ole Haslunds Fond 1986, Statens Kunstfond 1977 and Aarhus Town Council 1997. Since 1978 Member of the Danish Arts & Crafts Association (Danske Kunsthaandvaerkere).
Lone Borgen's own work include wall commissions, fountains and functional ware.
www.loneborgen.dk
Stephen Parry was born in Scotland, has since 1981 a studio ‘Ryburgh Pottery’ in Norfolk making wood-fired stoneware and porcelain pots. Trained and worked at Owen Watsons pottery, France 1970 - Studied ceramics at Croydon College of Art 1974-77, student at Dartington Pottery Training Workshop under Starkey, Casson & Leach 1977-78. Worked and taught at Dartington Pottery 1978-79.Part-time lecturer at Southend College of Art 1980-85 and Camberwell College of Art 1981-01. Professional Member of the CPA 1995. Commissions 2005 The Rocket House Museum, Cromer (5 tile panels). Stephen Parry’s work is sold throughout the UK in shops, galleries, exhibitions, & his own showroom in Norfolk. He has also exhibited in Germany, Holland, Denmark and Japan. www.spwoodfiredceramics.co.uk

ASGER KRISTENSEN - The tree's life cycle
"Small tales about the tree's life cycle, its birth, growth, decay and renewal - a good metaphor for the human life cycle.
I have worked with modelled trees for hanging on the wall. They are painted with clays that give them vigour and delicacy in the matte off-white surface.
In the same technique I have, for other objects studied this minimalist expression. In contrast, I have worked with more colourful objects where the glazes are allowed to unfold on built structures of rolled clay sticks, wrapped with gauze soaked in clay. It has been interesting to examine what happens to the form when the construction is wrapped with a thin cotton fabric.
My overall concept has been trying to put stories into my work, which is about general human condition, but also to a large extent the difficult transition I have been through the last few years, confronted with 'the big question of Life'.
Compared to my previous works, I now have a greater focus on the story. Some of my pieces have an unusual simplicity, which perhaps is about daring.
My inspiration is nature, especially the tree and the symbols in it, but also the physical/organic, almost human forms. (Hans Christian Andersen's fairy tale)
It may be interesting for the viewer to try and find what the point is with these a bit subtle objects.
Stoneware and clays fired to 1280 degrees. The objects are modelled and extruded tubes that are composed. Some objects are painted with clays and stay raw and dry, while others are glazed - in many cases with multiple layers of glazes, and sometimes they have to be glazed and fired repeatedly."

Born in 1951. Educated at the Arts and Crafts School, Kolding 1980-1984. Own workshop since 1985. - Teacher at the School of Applied Arts/School of Design, Kolding 1992-2004. The Danish Arts and Crafts Award of 1879 in 2000. - EXHIBITIONS Gallery Nørby Copenhagen, Scottish-Gallery, Edinburgh, Barn Galleries' Collect in the Country 'Aston UK, Gallery 55' Bogense, 'Large Formats' SAK Svendborg 2012 Gallery Pagter 'Ceramics' 2010, International Ceramic Museum, Grimmerhus DK 2007 ... - ARTIST-IN-RESIDENCE National Danish Studios for Arts 2009/2010, Anne Grete's House in Provence 2011-2013/2014 - Neue Keramik, magazine articles 2009-2011 REPRESENTED in several collections - Danish Arts Foundation purchased a vessel for the Rigshospital. Member of BKF, Danish Arts and Crafts Association and The Danish Sculpture Community.
www.havlitstentoj.dk - blog: www.asgerkristensen.tumblr.com