EARTH .. Jan-Feb 2020

Lea Mi Engholm & Vinni Hedegaard Frederiksen
Exhibition 16 January – 29 February 2020
About looking at the raw material CLAY of our planet - seeing into the ground.

The exhibition is an aesthetic tale of the uncontrollable forces that manifest when the elements of nature are given space. Impurities in the clay are maintained and exploited. Sensuality appears of the soil.
The exhibitors investigate the elemental and basic material of our blue planet. From the material CLAY, originating from the Danish ground, extremes in ceramic processes are explored.

LEA MI ENGHOLM challenges the properties of the clay, where a well-developed curious investigative approach characterizes her works that appear to have coincidentally emerged as a natural process or a play with material and method.
VINNI HEDEGAARD FREDERIKSEN has philosophical thinking and sensory memory as the basis for her ceramic work, which revolves around locality and material as a natural raw material to support a particular story and idea.

OUR TIME is for materiality, sensuality and sustainable thinking, not just to analyze how industry and the consumer can save nature's resources, but also to look down into the earth, to explore the valuable raw material that is said to have created the first humans.
CLAY is found everywhere on Earth and consists of variable elements that depend on where on the globe it is deposited. Traders and ceramists travelled around the world to find new materials that could enhance the home's functional products or aesthetics. Ceramists were the first alchemists and chemists who constantly researched to transform cheap raw materials into valuable products. Porcelain was called the White Gold.

IN THE DANISH GROUND, the clay contains especially much chalk and iron.
Clay is malleable and plastic, but becomes hard and weather resistant when fired at high temperature. In the farmer's houses are used unfired, porous and hard-fired brick, crude clay walls and floors, depending on the need for durability, moisture, heat, and insulation.
TODAY, clay is used for and in many products from bricks, concrete and tiles to new sharp knives, industrial products and contemporary art.

There is research into new potential properties and qualities of the material.
We are moving forward in the name of development, and fortunately, occasionally still look back on the earlier wise use of natural resources, where now modern architects rediscover clay and straw walls, local materials for 3D-printing etc.

AGAIN, IT HAS BECOME IMPORTANT TO REMEMBER and use the ingenious inventions and tradition-rich experiences.
It is sustainable to find clever new ways through old paths, basic and artistic ideas to the understanding of nature.

Lea Mi Engholm
My approach and thinking about the work process itself has basically been the same for a long time.
It is a curious and investigative work process in which I search and challenge the properties of the clay.

I always like to come across a detail or technique that I choose to pursue. Along the way, perhaps another detail arises, which is worth investigating.
In this way I move around and dive into the material substance.
The special and 'unusual' of my works is that I base the material on a way in which the works' more or less' make themselves'.
I give the process a push in a given direction and then let it live its own life. The method and the process create the work, but I am the one who chooses when the process stops and the work is done.

The way the material is handled captures the viewer's curiosity about the ceramic.
The pieces contain something recognizable, foreign and rough, but at the same time something cultivated. Pieces that, through structures and details, tell a story about the material CLAY.
My inspiration, background and references are simply material and work process. Most often it is through the work process that the idea for the work arises.
The sculptural objects are of stoneware, earthenware and porcelain.
(Photos of previous exhibitions and pieces)

LEA MI ENGHOLM (b. 1977) educated at Designskolen-Kolding 2001-06, study-year HDK Högskolen for Design og Kunsthåndværk, Göteborg, Sweden. SELECTED EXHIBITIONS Sophienholm, Kgs. Lyngby; Johannes Larsen Museet, Kerteminde; KunstCenter Silkeborg Bad, 2019. Clay Keramikmuseum Danmark 2018. SAK Kunstbygning, Svendborg 2019,18,17. Versus, Clay Keramikmuseum Danmark, 2017. En bolig til planten, Officinet, København & Odsherred 2016. Charlottenborg Forårsudstilling, Biennalen for Kunsthåndværk og Design, Carlsberg Byen; NNCA, Grand Palais, Paris 2015. Ann Linnemann Galleri, København, Mesterværker 2018, Intensity m Hans Munck Andersen 2013. GRANTS & AWARDS Statens Kunstfond, projektstøtte 2019, arbejdslegat 2018,17.16,15, præmiering af udstillinger Talisman 2017, Meditations 2012. Herman Madsens og Charlotte Henriksens Mindelegat 2018. Annie & Otto Johs. Detlefs´Keramikpris til Versus 2016. Medlem af kunstnergruppen Versus og Den Fynske Forårsudstilling.

Vinni Hedegaard Frederiksen
I collect raw materials from the Danish ground. Soil and clay formed during the last ice age as well as volcanic ash collected in mole graves.

I research these unprocessed materials in a ceramic process and apply them to a processed clay, stoneware and porcelain. Impurities in the clay are maintained and exploited.
It is an aesthetic story about the borderland between the controlled action and the uncontrollable forces, which are reflected when natural elements are set free. A poetic perception of the raw basic soil.
In my childhood, I spent countless hours on a tractor with my dad.
Here I loved looking down into the newly plowed soil.
The plow cuts through the black unprocessed earth, turning soil and producing new forms. Clean shiny surfaces occurs as a contrast to the raw land. Powerful, but with exalted calm. Repetition after repetition. The black earth with shades verging on the infinite.
The works are moving in a borderland between the earth's life force and autumn dark melancholy end.
A memory of looking into the ground. During the break from the complex, the plow field has its sensible justification. Images of the memory of the earth, with references to the beginning. This experience of the world's materiality is the starting point for a series of new works.
In recent years, my pieces have been concept and material based.
I am now concerned with a balance between the design language, the material's own conditions and the presence of the hand in the finished work. Maintaining an immediacy in the finished piece. The works have been prepared through a physical dialogue with the material - where I have repeated the same movements over and over again.
They refer to the basic, bordering on the existential. Asking questions for today's complex society.
A sensuous abstraction of a personal recollection.
(Photos of previous exhibitions and pieces)

VINNI HEDEGAARD FREDERIKSEN (b. 1975) educated at Designskolen Kolding, 1999-2004; Edinburgh College of Art, 2003. SELECTED EXHIBITIONS 'Lad leret tale` Projektrum AAKA 2019. CLAY Danmarks Keramikmuseum, Den levende krukke – 'Nøjsom', 2019. REFORM18 Design Biennale, Munkeruphus, The Silence of Everyday – Repetition of Materiality; Officinet, 'Game of Whispers' 2018. ATRIUM - 'Rå nøjsomhed', Kongegårdren, Korsør; Ny Kastet, 2017. Biennalen for Kunsthåndværk og Design, Museumsbygningen, LER, 2017. Officinet, Bredgade, 'Landskabning', 2016. Biennalen for Kunsthåndværk og Design 2015 'Stilhed'. Kunstnernes Sommerudstilling KS15, Janus Bygningen, 2015. KP14, Kunsthal Århus, 'Plovfure', 2014.

Grateful thanks to The Danish Art Foundation for project funding in 2020.

HANDS ON – UNIQUE December 2019

Collectors' Christmas Exhibition
Exhibition 30 November – 23 December 2019
December hours: Thursday-Saturday 11-18, Sunday/Monday 22-23 Dec. 11-17.
Christmas Party :-) Saturday 30 November and Sunday 1 December 11-18.00

Handmade for the table loved for value of function, beauty and sustainable quality.
The exhibition's collection of unique things on the table and unusual table settings appeals to the imagination. The handmade, useful and original are united.
Pieces are set in tableau and on the wall creating dialogue between the artists.
Here is inspiration for the Christmas gift, renewal for the home decor, new for the private collection - a beautiful selection of original ceramic pieces.

Focus on crafts, personal functional items with traces of hands.
The exhibition talks about various kinds of pieces made in the small studio, and largely the result of the hand's ability to create unique, high-quality items that can be loved by generations and endure over time.

Studio ceramics in beautiful colours and simple forms by Ursula Munch-Petersen are combined with blue and white porcelain by Ann Linnemann and Paul Scott.
Prue Venable, Malene Müllertz, Bodil Manz and Bente Hansen present elegant pieces set in tableau.
In addition, a wall installation of pieces by Anne Fløcke, Louise Sidelmann, Jane Holmberg, Kirsten Høholt, Esben Klemann, Mikael Jackson, Theis Lorentzen..
Collectables by Hans Vangsø, Sten Lykke Madsen, Ole Jensen, Marianne Nielsen, Mette Augustinus, Hans Munck Andersen, Christina Schou Christensen..
- and all the artists in the Gallery.

See Collectables Pieces for sale in the Gallery - LINK

Ceramic designer exhibits crafts from her studio workshop.
Ursula Munch-Petersen is acknowledged for her eminently designed functional everyday ware.
From beautiful crafts, her pieces have become good industrial design products, often having the same feelings as in good crafts. Over the years, she has created numerous works, experiments and prototypes for design for industry and studio production, unique pieces and commissions.
This exhibition features new pieces from her own studio.

There is an honest connection between the hand's work and common sense.
Many know Ursula-dinnerwares, dishes, bowls, cups and jugs of strong colours and distinctive shapes. But few have as Ursula understood to combine new design with good craftsmanship, for everyday use.

Colours, shapes, objects and landscapes become one with the peace that descends on rural life. Things arouse from the history of material and reason mixed with an investigative joy of creation.

Ursula Munch-Petersen:
"I have worked with clay and ceramics for over 60 years. My work has been about equally divided between modelled objects and commission projects, - and then functional things produced in my own studio or designed for industrial production.
One has not taken up more or been more important than the other. When switching between one and the other, it is experienced anew every time a new task occurs.
Many old and newer things and moulds, I have set aside over the years. When I get a new inquiry, like a small mortar I made in the sixties on Bing & Grondahl, I take the form into the workshop and set out to redo it again. The bowls, plates and dishes are a mix of older designs and new colours."

Ursula Munch-Petersen was born in 1937 on the Danish island of Bornholm. Following her studio experience on The Hjort Factory in Rønne and education at the Arts&Crafts School (now: Royal Danish Academy Design school) 1956-60, she was employed at Artist Studios of the porcelain factory Bing & Grondahl 1961-68, and designer for The Royal Copenhagen and Kaehler. She has received numerous grants and awards including The Danish Arts Foundation Lifelong Award, Denmark's National Banks Foundation's Honorary Award, Bindesbøll Medal, Ole Haslund's Artist Award, Arts&Crafts Council. Following an active life as a craftsman and designer with travelling, teaching and exhibitions in Denmark and abroad among others Latvia, Lithuania, Ukraine, the USA, Mexico and China, she has her studio and home in Copenhagen and at the island of Møn. She designed among others faïence tableware 'Ursula' Royal Copenhagen in 1992, pieces in The Larch Set 1994 - and recent public commission is 'Timetable' for the Ancient Roman Road, Jutland 2010.

Cobalt blue print on a porcelain set in a Danish-English collaboration.
The Landscape Blue set consists of coffee / tea cups, plates, dishes, trays and porcelain tea-lights, designed and hand-thrown by Ann Linnemann and then applied cobalt blue silk screen developed by Paul Scott from motifs used in industrial production.

For the exhibition are developed new pieces and renewed use of the blue prints.

Landscape Blue reflects a multifaceted dialogue between industry and crafts, everyday and the fine coffee-set with gold edging, childhood memories, remembering - and the daily cup of warm drink.

The history of porcelain, social and cultural politics and 'nature-human' are ongoing themes that unfold for the close viewer.
The decorative motifs are made in small series of unique landscape gardens, 'summer and winter trees' from the Royal Garden, ornament-borders inspired from the East or Swedish and English tableware.
"We are interested in the way that handmade and industrial can be united by creating objects of beauty for use; but even though we work with hand-thrown products and prints we are not interested in our own 'mass production'. In contrary, the nature of the project creates a distance from impersonal indifferent consumption, playing with industry techniques to wake up social awareness. Only a limited number of each print motif is printed and this creates a limitation on how many of the same kind are made. Furthermore, the hand-throwing creates a unique base which means that no two objects are identical."

COLLABORATION - Landscape Blue and Body Blue.
The pieces are the result of a collaboration that began in 2004, when Paul Scott and Ann Linnemann collaborated on sculptural pieces for a joint exhibition Body Blue in Gallery Nørby, Copenhagen. The graphic motifs for the first cups are based on summer and winter trees in The Kings Garden in Copenhagen. The 'Summer Tree' motif was also made on transparent tea-lights and 'shots'. A small number was exhibited and sold from the Scottish Gallery in Edinburgh during 2008; and it was then available from Ann Linnemann Gallery in Copenhagen and Paul Scott in Cumbria, UK. Since then, the project has been exhibited several places, including the touring exhibition, Taking Time: Crafts and the Slow Movement -

Motifs, edges and borders are derived from different industrial prints, and new items are designed for the set, plates, dishes, serving trays, jugs.
All functional things are designed, hand-thrown, glazed and fired by Ann Linnemann in her studio in Copenhagen, Denmark. Paul develops the graphic motifs and silk-screen prints the ceramic decals in his workshop in Blencogo, Cumbria, England. Half of a particular pattern or graphic is available from Paul and half from Ann. The finished articles that undergo a total of four different firings, are created both in Copenhagen and Blencogo - as each artist shares and attaches the printed decals to the porcelain before adding fine rims of gold and platinum-lustre on selected pieces.
All pieces are signed and stamped with signature and logo.
The project was awarded by the Danish Arts Foundation in 2009.

Ann Linnemann See more.. LINK
Paul Scott Cumbrian Blue(s)

Grateful thanks to The Danish Art Foundation for project funding in 2018.