NATURE CULTURE OBJECT
Turi Heisselberg Pedersen & Marianne Krumbach DK
Exhibition 12 September – 19 October 2019
Nature Culture Object - the concepts branch into the exhibition pieces.
Turi Heisselberg Pedersen and Marianne Krumbach both work with ceramic sculptural pieces that have evolved away from the traditional form of the jar.
They describe their interest in the meeting between nature, culture and object.
Where Turi Heisselberg Pedersen aims for the viewer's intuitive understanding of the pieces, Marianne Krumbach talks about the importance of conveying her own subjective experience.
TURI HEISSELBERG PEDERSEN's earlier organic vases have become geometric crystalline objects with almost invisible references to the vase's archetype.
She reconciles nature's asymmetrical and irregular encounter with its own structural sense of order, beautifully related to the organic and structural formability of clay, and has a sublime sense of giving the surface a specific texturality that emphasizes the form.
MARIANNE KRUMBACH describes herself as an interpreter, where it is not nature and objects that matter most, but the notion of them, and the meaning we as humans attribute to the things we surround ourselves with.
She is interested in telling her own experiences based on something generally valid, which she discovers in nature/growth, - "a story of something crooked, fallen or uncertain, something that somehow strikes beside the perfect". In the new pieces, she looks for the abstract and the specific mood that she particularly wants to express.
NATURE CULTURE OBJECT opens up artistic interpretations of the concepts.
There are more questions than answers, but with the title the gallery wants to add a visual experience of the subject based on the pieces by the exhibitors.
- How does art use nature? Can nature be explained in the name of culture/art? How are the concepts linked so that they are further thought and reflected?
Is it the task of art to point to the importance of nature in our culture/society - or does the work of art point solely to itself, in its own right?
- Are the objects of art important in our culture, or do the nature's "objects" give preference to those of the culture?
The exhibitors embrace the theme personally and link the pieces to their own journey - and professional narration.
Turi Heisselberg Pedersen
My current pieces have moved away from the jar form, towards a more sculptural expression. Clusters of angular profiles or strange mixtures between geology and plant forms, architecture and origami. Botanical-ceramic objects, in which the forms resemble the irregular asymmetric structures and orders found in nature, such as rigid crystal forms or wild-growing organic structures.
I strive for the pieces to convey the irregularity, the beauty of rhythm, form, colour and composition.
The space between the figures, the colours and the interaction between the pieces are important, and I often work in series that work together in themes.
I aim for an intuitive understanding of the pieces: Nature, landscape, culture, memory, body.
I am interested in a balance between the processed surface and the more imperfect, leaving traces of the process. The angular shapes fight against the nature of the clay, giving you an impression of the hand-built and imperfect. In this way, the angular shapes get a softer look, leading the mind towards natural shapes rather than constructions.
The pieces are modelled in stoneware and glazed with sinter clay-slip, giving a dry stone-like surface with a rich materiality. Some have a coloured slip applied before the glazing.
TURI HEISSELBERG PEDERSEN (b. 1965) educated at the Design School Kolding (Arts&Crafts School) 1985-90. Educater and leading teacher at Design School Kolding, 1994-2007. XXIst International Biennial of Vallauris – Contemporary Ceramics Price, 2010. Ole Haslund's Artist Award, 2013. Annie and Otto Johs. Detlefs' Ceramics Award, travel grant 2016. Danish Art Foundation 3-years stipend. Design for Kähler Design A/S, 2017-19. Bayerischer Stattspreis, gold medal, Munich, 2016. SELECTED EXHIBITIONS Time Out, w. Lone Skov Madsen, Design Museum Danmark, 2009. Into the Woods - Dans la forêt, Galerie Maria Lund, Paris, 2013. J. Lohmann Gallery, Collective 1. Design Fair, New York, 2013. Lives and works in Copenhagen.
I call my ceramic project for conveying moods and states through nature objects.
I am interested in, through selected growths in nature, to tell the story I read in them. It is when I discover a growth or plant that, in its expression, strikes something that is generally valid, that I become interested. It can often be a story of something lopsided, fallen or faded, something that somehow strikes beside the perfect.
In my new works I move towards the abstract in relation to my starting point.
The very special is that the pieces express my subjective experience of things.
If I succeed in conveying the mood I desire, the work is successful in relation to the viewer.
The pieces are sculptural objects made of stoneware.
MARIANNE KRUMBACH (b. 1970) educated at the Danish Design School Kolding (Arts&Crafts School) 1996-2001. Copenhagen University, BA Danish/Art History 1991-1994. SELECTED EXHIBITIONS Ceramic Momentum, staging the object, CLAY Museum Denmark, 2019. Gallery Kaolin, Stockholm, 2018. Butik for Bordækning, 2017. Danish Biennial for Crafts and Design, 2017. Mindcraft16, Milan, 2016. Biennale Internationale de Ceramique d´ Art de Vallauris, 2016. Copenhagen Ceramics, 2014. Officinet, Copenhagen 2013. New Nordic Narrative, CLAY Museum Denmark, 2011. Danish Biennial for Crafts and Design, 2011.
Grateful thanks to The Danish Art Foundation for project funding in 2019.
HUMAN MATTERS - Ann Linnemann DK
Exhibition 15 August – 7 September 2019
Human as a focal point - a universe of dreams and thinking.
Human and material - body movement, form language and human relationships are just some of the key words for this exhibition's new and older pieces, all of which revolve around being human in a more or less abstract way.
The exhibition presents works from various time periods and thus showing several years of work with human as the main theme.
Just as changeable as the time and situation they have appeared from.
The pieces spring from ideas about dreaming of and looking out into the world and looking into oneself, of considering expressions and impressions of people, body language and movement combined with natural and cultural relations.
They show the imprints of time on the body, suggestive and more directly readable considerations of the individual, moods, states.
The pieces are about the many situations that human can see them self in - based on the physical form, the torso with more or less focus on and clarification of form lines, details, fragments. They abstract over emotions such as social relationships, community, independence, dialogue, poetry and eroticism.
It is a kind of diary, perhaps autobiographical, but also fiction and mind play.
Each piece has its history, a kind of set of rules, a method used as a starting point for this particular work.
Body Form is a study of super simple shapes, hand-thrown in porcelain and stoneware, and minimally altered,..
- and Body Blue continues the idea, but in a collaboration with a British colleague, Paul Scott, has been given cobalt blue silkscreen prints from past everyday tableware in the porcelain industry - as a social-political commentary on the relocation/ closing of ceramic industrial factories in Europe.
Body Wood and Body Tang's wood-fired forms hold the marks of flames and ashes.
In recent years, the fascination has focused on picturesque depictions on ceramic form.
Views and Forms of Forest refer to conceptual themes inspired by paintings from the Renaissance to now - and examine painterly qualities of ceramic glaze.
Nature reproduction, pattern and ornamentation can be experienced here as illusions appearing from different realities.
The trees of Central Park in New York edged the thousands of shiny windows of high-rise buildings.
- An evening in Copenhagen reflected the shadows of the city's trees and the blue sea from the world of dreams - on the city's facades.
The majority of the latest works are painted with glazes and depict imaginary landscapes from the memory. The views through windows and combinations of windows and other openings, cultural landscape and nature scenes.
They are a kind of journey into the world and into the body, stories and poems without words.
The complex lies in the picturesque possibilities of ceramic glazes and differences that occur when the 'colours' finally are to be effected by firing, while in the painting process colourless and 'invisible', a greyish chemical mass which does not float with the paint-brush as oil paint, but rather reacts as in fresco-painting - that is, apart from the unpredictable in the later melting of the colours.
All pieces are glaze painted in multiple layers and then fired several times, until the desired result is achieved.
It is a slow and reflective process where the final work occurs in a constant dialogue with the natural characteristics of the materials, glaze recipes, layers, interaction and densities.
The organic and cylindrical forms are hand-thrown porcelain, painted with alkaline ash glazes, fired at 1280C.
ANN LINNEMANN (b. 1957) apprenticeship/potters certificate, Kähler Ceramics Studio, Næstved 1979-83; ceramic designer, Denmark's Design School (now: KADK, Royal Danish Academy of Fine Arts School of Design), Copenhagen 1983-89; Research Scholar Arizona State University USA 1993/94.
Collections and exhibitions in Danmark and abroad: Danish Art Foundation, Trapholt Art Museum; Design Museum Danmark; CLAY Ceramic Museum; New Carlsberg Foundation; Næstved Museum; OJD-Fonden;, International Ceramic Research Center; Archie Bray Foundation for Ceramic Arts, USA; Banff Arts Centre, Canada; Australia National University of Art Canberra; Arizona University Art Museum, USA; Lacoste Gallery, MA USA; Scottish Gallery, UK.
Ann Linnemann has studied and traveled all over the world, from Japan to The US and Canada, she is recognized for her professional commitment and ceramic work. She has presented international lectures and workshops, including a guest presentation at the NCECA conference, USA. An increasing interest in the development of ceramics, promotion and international exchange has involved project management of symposiums, seminars as a director of international Ceramic Center in Denmark, exhibitions and gallery activities.
She lives in Copenhagen and works in her studio and gallery, Ann Linnemann Gallery, specializing in contemporary ceramic art, presenting exhibitions by Danish and international artists.
Her art work concentrates on ceramic sculpture and glaze-painted vessel forms with references to historical themes and concepts. She has an interest in the secret layers of meaning. The dreamy and intangible concealed in the object's physical reality, and a dialogue with the viewer through the stories underlying the actual presence. The form language may be complex, often with alteration and further processing of hand-thrown basic form, where a symbiosis of idea, function, form, material and throwing technique is essential.
Previous pieces - 1995..
Grateful thanks to The Danish Art Foundation for project funding in 2019.
BIOGRAPHY – Link: Biography - Ann Linnemann
See more images.. SCULPTURAL FORM AND IMAGE