THROWING THE CASE... February 2014

CLICK photo = LARGE format + slide show..

THROWING THE CASE... Theme II - young talents
Ninna Gøtzsche, Marie Torbensdatter Hermann and Kirsten Høholt
Exhibition 6 February - 1 March 2014
Artist Talk: Thursday 20 February at 17-19.00

The Craft in Art and Art in Craft - Applied Art and Ceramic Contemporary..
This themed exhibition of young talent shows work by Marie Hermann, Ninna Gøtzsche and Kirsten Høholt. They work in unusual ways with hand-thrown forms and traditional craftsmanship.
They were born the same year, work internationally and studied in England.
Their conceptual standpoints with reference to crafts come into play and create dialogue on new ways of relating to everyday utilitarian objects, function, ceramics and pottery tradition.
This exhibition shows thrown forms as a concept – craft in contemporary art.

KIRSTEN HØHOLT was educated in England, combines drawing and ceramics in personal tactile images on hand-thrown utilitarian objects. For the exhibition, she decided on the thrown plate, wall objects in bright colors and delicate lines.
MARIE HERMANN was educated in England, now living in the USA, working with still-life and formative juxtapositions in everyday scenarios. She throws or hand-builds depending on what technique makes sense for her idea.
NINNA GØTZSCHE was educated in Denmark with studies in England, expresses herself in clay, tells stories of shape, material, idea and immersion. Her new work Uncultured Breakthrough is inspired by vases from the Royal Copenhagen Porcelain Factory.

Photos of earlier works by - Kirsten Høholt - Marie T Hermann - Ninna Gøtzsche:

Each exhibitor has described their personal concept and basic philosophy and answered the questions: - What is different from your previous works?.. Unique, new and surprising?.. Interesting for the viewer?.. Inspiration, origin and originality?.. Material and technique? - 10 significant professional events...

"My overall concept is combining drawing and ceramics.
For this exhibition I have chosen to use the plate, because it is a good format to draw on, and the 'platter' is a funny thing.
It is one thing to draw on paper and frame it. This is to touch, - a tactile drawing.

Drawing means a lot to me. Playing with image metaphors. I simply like to draw, and I like to make pottery. I have chosen to use a hand-thrown shape, because I want to create as much life as possible.
- I am working now with motifs directly onto the clay.
Previously, I have worked on paper and transferred the decoration to the ceramic object in a last firing. The paper drawing, I had printed in ceramic colour, I then transferred to the glaze fired ceramics as a children's tattoo, before the last firing.

- This time I have thrown myself into deep water. It is 'one shot' and you can not move things around. It is not a design process, but very direct. Layer upon layer of colour, scribble and print. I am now much more down into the layers, whereas the other just like remained on the surface.

- It is like a little 'photograph' from my brain. It is hard sometimes to be part of the drawing. - Why did this come into the drawing?. Sometimes there is something, I do not want to see - but it was there. Where did the motive appear from? Things in the drawings come from different places that I know when I see them drawn, but may not be aware of when I draw them. Therefore the motives also surprise myself.
- I want it to make people smile. Something positive and some comments - without being political or point a finger. I hope for familiarity, informality.

- My paintings are everyday ruminations, little thoughts and conversations .. I am thinking of words, phrases, metaphors, sounds, clear and messy impressions distinct stories - and feelings.
- Hand-thrown, porcelain slips - painted, drawn, mono-print, transparent glaze, photo decals. Fired 2-3 times at 1000-1260 C."

Born in 1979 - Graduated from Bath Spa University (ceramic department) Somerset UK 2000-04. Participated in 'Network Europe', International Ceramic Centre DK 2004. - POTTERY TRAINING at Mark Smith Derbyshire, England 1999 and Ann Linnemann studio, Copenhagen 2000 - MEMBER of the Danish Arts and Crafts Association from 2012 and the studio Formateket since 2008 - SCHOLARSHIP Obel Family Foundation 2002 - EXHIBITIONS 'New Designers', London 2004; Jug Exhibition, Blaze, Bristol 2006; 'Formateket' 2010 and 'Masterpieces' 2013 Ann Linnemann Gallery, 'Young Danish ceramics' Gallery Rasmus 2009; 'Network Europe' International Ceramic Museum - Grimmerhus 2005.

"Over the last years I have worked with a series of Still-Lifes where I investigate formative juxtapositions through functional, tactile and stylistic associations.
The pieces are a kind of aesthetic scenarios which seek to bring attention to the transient everyday scenario, that you can find on the shelves and tables in the kitchen and bathroom. But in my pieces functionality has been taken away to highlight the formative relationships and the qualities in the everyday object that lies beyond the purely practical.
- I hope for a dialogue between the pieces, the viewer and the everyday object.
- Everyday life and our relationship to the objects we live with. Still-life of a moment where two objects meet.
- I work in stoneware and porcelain, hand-throw and hand-built depending on what technique makes sense for the given work. I use wood, yarn and other materials."
Born in 1979 - Graduated from the Royal College of Art, MA, London 2007-09, University Of Westminster, BA Ceramic, London 2000-03; - SOLO EXHIBITIONS 2013 Galerie Nec, Hong Kong - A Gentle Blow til Rock, Re: View gallery , Detroit, USA, at 2012 Galerie Nec, Paris - France, 2010 Stillness in the Glorious Wilderness Matin Gallery, LA, USA, 2009 To the Legion of the Lost, Sixpm, project space, London, UK; - FUNDS the National Danish Arts Foundation - Annie and Otto Johs Detlef 'travel grant; - COLLECTIONS Denver Art Museum, USA - Nordenfjeldske Kunstindustrimuseum, Norway - Sevres Museum, Paris.

NINNA GØTZSCHE - - Uncultured Breakthrough
I develop and experiment my ceramic languages ​​all the time and am concerned with how form, idea and material converge into Arts & Crafts.
With my pieces I try to tell a story, a ceramic story. It is not told with recognizable images and signs but with shape, material, idea and immersion. The language of the story, I find in the maze of history and experience and by hearing others' versions and visions. I express myself in clay.
- Uncultured arose from a desire to do something gross and not so nice. The clay is thrown thick, afterwards I cut into it. Uncultured Breakthrough is carved throughout. Inspiration is the penetrated vases from Royal Copenhagen, but my version is different. They are crude and the material bulk. Something is hiding behind the breakthrough, you can glimpse something lighter and softer.
The hand-thrown form is destroyed, while there is no doubt about the background in the functional. Precisely because it is the hand-thrown form in the fine porcelain, that has been chopped into, it is uncultured.
- I wanted to do something rough, something that describes life's not so pretty sides. But where the rough is nicely wrapped in a fine ceramic glaze. With Uncultured Breakthrough I have gone one step further and left something behind the coarse within the rough.
I have always worked ahead with the thrown forms, once they have left the throwing-wheel. Sometimes it has been by pushing them, sometimes by cutting and assembling them back together. With the series Uncultured, I am working more roughly and less harmonious and neatly. I hand-throw the shapes thick, then I jag and cut them. I even cut completely through them, so you can see what is hidden inside.
- Porcelain is a material traditionally for making ​​perfected objects. I take the fine material and do something rough and uncultured to it. It is the destruction of the hand-thrown form and the very fact that it is the functional form, that makes the destruction tend to be stronger.
- I show, that in the fine material, porcelain, there can be created a rough, hard expression. It is also a destruction and renewal of the hand-thrown form and the tradition of perfection. Destruction because I deliberately target the unsightly. Renewal because I have yet not left the functional - things can still be used. To show the rough, the unsightly on a hand-thrown functional form, makes the artistic expression strong, because it is surprising this way.
- (Inspirational) Uncultured / Messy. Belching / Slanderous. Coarse. / Raw. Ugly. Uncivilized. / Uneducated. Inelegant. / Awful. Disorderly. / Sloppy. Thick. Foolish. / Grim. Swagger. / Immature. Improper. Unfinished. / But with a nice yellow glaze.
- The pieces are made ​​of thick, hand-thrown porcelain, which I cut and chop up. Uncultured is made ​​of several thrown parts that are put together. - Glazed with a green glaze and fired to 1280 C."
Born in Lemvig, 1979. Educated at the Glass and Ceramic School on Bornholm 2001-04. Assistant at Julian Stair, UK 2004-06; Pottery Diploma School, Sønderborg 1999.
SELECTED EXHIBITIONS - 'SOFA Chicago' Cultural Connections, USA 2013; 'Collect' Saatchi Gallery, UK 2013,12,11,10; Ceramic Art London, Royal College of Art, UK 2013,09,07; 'Ætlinge' (solo), Officinet Kbh. 2012; 'SOFA New York' 2012; Functional, The Leach Gallery, Cornwall, UK 2010; 'Talente' München, DE 2009; 'Clay 08' SAK, Svendborg; 'The Rising of Danish Studio Pottery' Brewery Arts Centre, UK 2008; Salt Gallery (solo), Cornwall, UK 2006; - GRANTS: Danish Crafts 2013,12; National Danish Arts Foundation 2012; National Banks Anniversary Foundation 2012,11; L.F. Foghts Fond 2012,04; Kulturudviklingspuljen, Aarhus 2012,10; Det Reiersenske Fond 2004.