LUCK with EDGE - Exhibition Feb-Mar 2019

Pieces by Sten Lykke Madsen and Galapagos Iguanas. Photos: Ann Linnemann

LUCK with an EDGE
Sten Lykke Madsen
Exhibition 21 February - 23 March 2019
Opening reception Thursday 21 February at 16-19.00

Love and lust for life added an edgy humour - and gravity.
The gallery features new works by the famous Danish ceramist Sten Lykke Madsen. It is works that are cleverly modelled in stoneware and porcelain with a surface of ash and glaze from flames and soda in the wood-fired kiln.
Pieces by Sten Lykke Madsen. Photo: Ole Akhøj
Sten Lykke Madsen has worked through an 80-year life, filled with experiences and ceramics. He has travelled widely and still look at life with attentive eyes.

Somewhere on the Great Wall in China, he suddenly met someone to talk with, who understood the same language, sign language. Not everyone use the same signs, but there is always an opportunity to communicate and create this present mutual framework of understanding.

Studio photos by Ann Linnemann - exhibition photos will follow..

Sten Lykke Madsen is known for his fabulous, humorous figures, who leads the viewer into a different world of hybrid between animal and human.
It is modelled quirky characters, favourites in stoneware and porcelain from the wood-fired kiln.
Imagination and humour create shapes and drawings that lead to new experience.

The works do not need further articulation, - the figures speak for themselves and go straight to the heart. Maybe everyone should try to close their ears and listen in a new way?
Is this what Sten Lykke gives his 'Followers' - a sense of presence and to see the world in a different way - opposite, upside down or just plainly much larger?
Everything is possible and could be something completely different.

It is this all-embracing, wondering and generous conception of life that LYKKE gives his viewers:
the wordless who know how to use their eyes and perceive with multiple senses - without having to hear a word of what others say.
Is LYKKE (English: LUCK) so easy? - Or does the 'cute' imaginative fabulous also have its sharp edges and dark sides?
We only see what we discover.
Sten Lykke Madsen does not serve everything on a dish or is stuck in reproducing cosy ceramic figures, but shows in his works constantly new aspects,- also gloomy sides of LYKKE/ LUCK in an ever vividly living contemporary narrative.
It's about presence and acceptance of difference; where the greatest diversity is the most natural - for the curious.

Photo of Danish and Chinese artists during a studio residency in China
Sten Lykke Madsen is internationally known and recognized for his ceramic work.
The world comes to him - and he is relentlessly working in a worldwide physical network of both younger and established ceramic artists from China to the US and Russia, who also find their inspiration working in professional communities such as artist-in-residence, workshops.

Previous pieces:

Sten Lykke Madsen's wood-fired pieces invite us into a world where the volcano ashes in Iceland can suddenly fly over our heads and stop all fast traffic, to give us time for immersion in unknown corners of the mysteries of mind.
Like the Galapagos dragon iguanas, Sten's pieces are standing completely still - while we wait for them to move suddenly towards us.
The pieces show that Sten Lykke Madsen always is moving forward in his long and active work to create ever-imaginative, fabulous, quirky characters.
Sten Lykke often works with raw materials and clear forms that bring our thoughts to unseen depths and universes beneath the earth's surface - or to distant parts of the world.
The baroque and 'sinister' is evenly mixed with humour and sweetness that is characteristic of Sten Lykke as he speaks in a language we can all recognize, but not always explain.

The pieces are eternally young and contain stories of a NOW time that is distant from the current preoccupation of globalization, rapid consumption and financial considerations.

The pieces in the exhibition are modelled in stoneware and porcelain. Either one type of clay alone, - or the bright china clay is combined with the coarse darker stoneware.
The combination of materials means that the glass layers of the coloured glazes and melted ash particles are deposited differently on the clay surfaces, combining the dark gloomy texture on stoneware with clear, lighter colours on the porcelain.
The pieces have an insistent natural expression, which is created by a skilled advanced and artistic intuitive process.
The wood fired kiln with or without an addition of salts is the preferred firing method. It is a long laborious working method that gives a special surface that characterizes the pieces.

STEN LYKKE MADSEN (b. 1937, DK) was educated at the School of Applied Arts, Copenhagen 1954-58. EMPLOYEE Bing & Grondahl and Royal Copenhagen 1962-03, guest teacher Kolding School of Design 1981-05. TRAVELS in Europe, China, Taiwan, Japan, USA 1979-2006. EXHIBITIONS 'Ceramic Ways' exhibitor and Co-founder since 1985, CLAY Museum Denmark 2017, Sophienholm 2015. CLAY Museum Denmark solo 2016. Ann Linnemann Gallery 2019,11,10,08. Puls Contemporary Ceramics, Belgium 2010, SOFA Chicago 2005. Kilns of Denmark, USA/Europa 2002. Gallery Nørby, solo 1999, Charlottenborg Foundation, solo 1975. Concorso Internazionale della Ceramica, Faenza, gold winner 1975, 1967. Victoria & Albert Museum, London 1972. WALL COMMISSIONS Castberggård, Urlev 2002; Sølvgade 1993; Vesterbrogade 1978. FOUNTAIN Holstebro 1986, Randers 1973. GRANTS Danish Arts Foundation, Danmarks Nationalbank's Anniversary Foundation, Ole Haslund Artist Award.. ARTIST-IN-RESIDENCE China 2004. International Ceramic Research Center, Denmark since 2003. MEMBER of Académie Internationale de la Cèramique (AIC).

Grateful thanks to The Danish Art Foundation for project funding in 2019.

Born in 1937, Copenhagen DK.

Bing & Grøndahl 1971. Höganäs Museum 1973. Charlottenborg 1975. Koldinghus Museum 1975. Ceramic Sculpture in Scotland, The Danish Culture Institute, Edinburgh 1986-88. Ceramic Expressions – with Love, Lidköpings Konsthall 1987. Royal Copenhagen Porcelain 1988/1995. Musikhuset, Århus 1990. Næstved Museum 1989, 1998. Galerie b 15, Munich 1992. Rundetårn 1998. Galleri Nørby 1999, 2002, 2006. The Danish Embassy, Berlin 2001. Salt, Designmuseum Danmark 2002. Galleri Pagter 2004. Galleri Svenshög, Lund 2005, Kähler, Næstved 2006. Fukuoka, Japan (w. Takashi Nakazato) 2006. Ann Linnemann Galleri solo 2008, Kontrast (w. Marianne Nielsen) 2010, Still in Love (w. Akio Takamori) 2011. CLAY Ceramic Museum Denmark, retrospective solo exhibition, 2016.

Bing & Grøndahl 1963,1965, 1967 og 1981. Nieman Marcus, Dallas 1964. Concorso Internazionale delle Ceramice, Faenza 1967, 1975, 1978, 1981. International Ceramics, Victoria & Albert, London 1972. Chunichi International Exhibition of Ceramic Arts, Japan 1976. Keramion, Frecehen. Museum Boymans-van Beuningen, Rotterdam 1977. Design Museum Danmark 1978, 1980. Artists Autumn Exhibition, Charlottenborg 1983. Ceramic Ways, Den Frie Exhibitions, 1985, 1987, 1989, 1992, 1994, 1997, 2000, 2004. Taipei Fine Arts Museum, Taiwan 1984, 1994. Denmark Modern Craft Exhibition, Seibu, Tokio 1987. 1st Biennial International de Obidos, Portugal 1987. ”Design aus Danemark 1950-87. Travel exhibition, France 1987-88. ”Deense keramisten en Leen Quist”, Singer Museum & Galerie Amphora, Netherlands 1990. ”Form und Glasur”, Hoechst, Frankfurt 1991, 2000. Gallery Nørby, Copenhagen1995, 1996, 2005. ”From Golden Age to The present Day”, Edinburg. 1995. Pro, Charlottenborg 1996. Danish Ceramics Trienneal , Trapholt Art Museum 1997. CLAY Museum 1997, 2000. ”Keramik aus Dänemark”, Munich 1998. Ceramic Biennial , Korea 2001. ”From the Kilns of Denmark” New York, Fitchburg, San Diego, Sacramento, Racine, Paris, Berlin 2002–2004. Denmark's House, Stockholm 2003. Galleri Kaffeslottet, Gudhjem 2004. ”Sofa”, Chicago 2005. Museum De Tiendschuur, Netherlands 2005. World Clay, IAC members, Riga 2006. Puls Contemporary Ceramics, Belgien 2010. Ceramic Ways, Sophienholm anniversary 2015/ CLAY Ceramic Museum Denmark 2018.

Boymans-van Beuningen, Rotterdam. CLAY Keramikmuseum. Helsingborg Museum, Höganäs Museum, Sweden. Keramikmuseum, Westerwald. Design Museum Danmark. Museo Internazinale delle Ceramice, Faenca. National Museum, Stockholm. Nordenfjeldske Art Museum, Trondheim. New Carlsberg Foundation. Danish Arts Foundation, Trapholt Art Museum. Victoria & Albert, London. International Ceramics Museum, Fu-ping, China.

Gold Medal Museo Internazionale delle Ceramice, Faenza 1967/ 1975. Royal Jeweler Michelsens Anniversary Award 1969, Paul Mindelegat 1971, Thanning's Travel Stipend 1972, Danmarks Nationalbank's Anniversary Foundation 1974, Ole Haslunds Artist Award 1984, Danish Art Foundation 2003/ 2005, Travel Stipend 2004. Kay Bojesen and wife Erna Bojesen's Award 2005. Arts Association of 14. August Award 2005.

TRAVELS in Europe, USA, China, Japan 1979-2006.
ARTIST-IN-RESIDENCE China 2004; International Ceramic Research Center, DK 2003-19.

DRAWINGS OF CLAY Exhibition Jan-Feb 2019

Louise Sidelmann and Jane Holmberg
Exhibition 10 January – 16 February 2019
Opening reception Thursday 10 January, 16-19.00

Dogmas, heritages, materials and intuitive grip.
Two Danish ceramic talents in exhibition on drawing - and image making in clay.
Lines of the drawing challenge 3D-form, and abstractions occur working with the nature of materials.

Both work intuitively, but based on sets of rules, so that method controls material and vice versa. Creation of the pieces are based on the qualities of the material and exploration of the line in spatial form.
Jane Holmberg examines the spiral, colours and nuances of throwing in shades or sharply defined layers, created in a dogme-like process based on natural colours of clay and the monumental character of a tree trunk.
Louise Sidelmann explores the character of line and spatial expression of drawing - in a clash of details that makes a poetic musical composition, with passages of interval, colour, relief and sculptural form.
Grateful thanks to The Danish Art Foundation for project funding in 2019.

Jane Holmberg
The special features in Jane Holmberg's pieces are her use of pure raw clay and colour scaling of the infinite possibilities, which lies in only few colour variations of natural clay.

She gives the viewer an insight into the wide potentials of working almost dogmatically with few elements and the 'life of clay', while she seeks new opportunities in the constraints without any use of glaze and other means.

JANE HOLMBERG - Transitions
"I work both with utility and unique, often in the line of Danish ceramics tradition and from objects like cups, bowls, vases, dishes, etc., where function plays a major role.
When I work with uniqueness, utility items such as a spoon or a dish are also the starting point, but here in a non-functional and abstract, decorative or symbolic direction. Thus I move in the intersection between utility ceramics and sculpture.
I am based on what the material can do, and make use of various clay qualities.

The past four years, it has entirely been turned pottery: red, white and black clay.
It is hand-thrown objects that are stacked or presented in groups in a different context than the usual. It challenges my view of utilisation when they are compounded in new ways and interact in new contexts.
In the new pieces, I work from a simple design concept, inspired by the jar, bottle and tree trunk. Normally we see the opening of the jar or bottle, but not the bottom. But we often see fallen trees; massive cut stems with their annual rings, which tells about the tree's age. This plane, I have always found very beautiful and alluring.
In this project, I decided to focus on form and particularly the surface flat, and thus the closed form that does not dictate a specific function, but simply form and presence. The pieces appear massive and monumental, such as stylised tree trunks or closed jars in mixed shades of black, red and white clay.

I am inspired by the earthenware colours in all its simplicity.
Where I previously have thrown different clay colours together into wild marbled patterns, I use now also the clay tones in a very controlled way, with the tree trunk and annual rings as inspiration.
In spite of the control in my design, it is basically an intuitive study and development of my investigation in raw and pure clay that underlies my work.

Hand-thrown and modelled jar and bottle-like forms in earthenware.
I work with nuances in the clay by mixing my own colour scheme from a white, red and black clay. With transitions in the clay colours, sometimes smooth and sometimes sharply defined colour differences.
My approach to the design is simple: 3 types of clay, no glaze, wheel-thrown."

JANE HOLMBERG (b. 1973) graduated from the Design School Kolding, ceramics, 2001. Exchange student, Bezalel Art Academy, Jerusalem 1999-2000. Has for years produced utilitarian objects of her own design, but in recent years worked in the intersection between sculpture and utilitarian objects. EXHIBITIONS Rotation, solo, Officinet, Copenhagen, 2017. Biennial for Crafts & Design, Carlsberg, 2015. Crafts Collection 16, 2012. CeramicsUnderGround, Bunker DG 177, Copenhagen, 2004. Spring Exhibition, Charlottenborg 2004. Gallery Ra, Holland 2003. GRANTS Danish Art Foundation, work grant 2017, 2018 , award 2008, Arts&Crafts Award, bronze 2015. Studio at Designer Zoo 2007-10. Now: collective studio, Birkedommervej, Copenhagen. MEMBER Danish Association of Crafts and Design.

Louise Sidelmann
Louise works casually with the material and almost meditatively in the process.
It is an intuitive experimental work process, a search for the quirky and fragile, - to find the harmony between tenuous and robust.

She is interested in combining details, colours and space forming compositions of lines, where the drawing moves from surface into the spatial, on the edge of drawing and ornament.
A personal interpretation of 'Less is more' makes for a dynamic and unsentimental expression of form and image.

"To work within a small set of rules, to get much out of little. It's my strength.
I perceive myself as being a composer. Just like in a classical piece of music, where the pause also makes the music lively.
In my 'composed' pieces, the pauses consist of spaces that create a rhythm.

The ceramic pieces consist of 'clay-lines', which are joined together so that the lines form grits and the applied decorative elements create depth in the piece.
I work on experiences from my previous ceramic processes - and also with other materials than clay.

My starting point is the nature of the material with my intention to underline the qualities of the various different materials.
Common to all the pieces, regardless of material, are the collision of detail and form that all together form an image, a sequence of intervals, colours and forms.

It interests me that there is no 'upside down', - it appeals no matter how the piece hangs or is placed on a surface.

My focus is often decorative elements - that something is about adornment or decoration. Opposite to 'Less is more', which has long been a concept in which decoration has been scrapped away, and the word decoration is a scorn. Then in my pieces, appear a 'decorative' simple and sometimes a bit naive form language.

MY EMBROIDERIES are 'heirlooms', found pieces of dyed fabric attached white crocheted border, on which coloured surfaces are sewn with chain stitching.
There is no signature, so the composition works regardless of how it is moved and turned.
Exhibited together with coloured patterns on paper.

I found the fabric in an old bureau left in a nursing home. In one of the drawers lay finished handicrafts. The lady had been very active in crochet and embroidery. When I looked down in the drawer it was like opening a treasure chest full of gold.

Unlike before, my basic material is made by someone else, so it already has a story. The fact that I sew images on gives it a new story.

I am fascinated by drawings and the character of the line, - architectural and urban spaces, buildings in the city and their architectural processes. - How windows and doors are placed in relation to each other and the beauty when it all harmonise and interact."
Modelled objects of porcelain and stoneware. Sinter-slip is painted on in layers and in parts washed of again.
Embroideries with chain stitching on square pieces dyed fabric with sewn crocheted edge and yarn. Drawings and patterns on paper.

STUDIO PHOTOS - and previous pieces

LOUISE SIDELMANN (b.1976, Lemvig) was educated at the Design School Kolding, ceramics, 2002-2007, Aarhus Art Academy 1998-99. EXHIBITIONS Ann Linnemann Gallery: Drawings of Clay, duo 2019, Master Pieces 2018, World-Cup 2017, Dialogue 2017, FormSprog-TankeSpind 2016. Landscapes, Kammer Gallery, Lemvig 2016. Til ingen verdens nytte? Curated by Lars Kærulf Møller, Officinet, Copenhagen 2014 and Illusion 2013. Sikken Fest, Møstings Hus, Copenhagen 2012. Form Art, Glinde, Germany 2011. Limfjordens Autumn Exhibition, Gimsinghoved 2009. Spring Exhibition, Charlottenborg, Copenhagen 2009. Ler08,SAK, Svendborg 2008. Project Network, Denmark's Ceramics Museum CLAY 2008. Collective studio, The Formatek, Copenhagen.