Ann Linnemann exhibits wood-fired and glaze-painted sculptural objects and jars - Body wood, Body Blue and Body landscape... 
Akio Takamori and Sten Lykke Madsen always seem to work with love of humanity in mind.
The exhibition presents a joyful and reflecting enthusiasm for erotic love. It shows their undying appetite for life and love of clay, art and people.
Erotic art has been shown in secret museums and behind the shop counter, and at the same time appears as an ever existing and important part of the artistic expressions – both to happiness and indignation for the curious viewer. 
Sten Lykke Madsen is recognized for his fabulous, humoristic figures, that in funny ways bring the viewer into a different world of hybrids between animal and human. 
The theme of eroticism and love is always present in Sten Lykke's motives. He grabs with steady fantasy and humour the still new forms and lines to give out new experiences. 
At this exhibition the bedroom chest of drawers shines of its own erotic adventures, while other forms play with each other and the viewers sense of imagination.
Akio Takamori is famous for his figurative works and masterly drawing on ceramic form.
In those pieces, Akio tells about eroticism and love in ways that carry the mind into secret places and hidden corners, revealed around and inside the forms. He seems to talk about several aspects of erotic life and not be stopped by raised fingers and 'untimely' moralistic concerns.
For years the two artists have – individually and without direct purpose – collected discarted glass objects of various kinds.
This glass collection has formed the common starting point for this exhibition.
Pipaluk Lake has 'deformed' and transformed the collected glass objects. They are cut and assembled into new combinations with other glass parts and prefabricated found objects of wood and metal.
This work method differs from her usual slumping technique, where primary glass sheets are heated in a kiln.
Here are the given glass objects used as elements in a tableau, where the light plays an important role in the final still-photograph.
Extruding, as Extrudox A/S has used it, is a here-and-now technique, where the objects are finished in the same tempo as they come out of the extruder.
It is man and machine against and with each other; and it is a spontaneous, manual, and quick process, where the technique, clay and the moment of making become easily readable in the finished pieces.
Extrudox A/S has worked with an open and playful approach, where extruding is the primary turning point, and the result has become functional, objects and figures.“
"As an artist you have to get into a space, that you don't know what it looks like. You have to find courage to jump. You live your life in a minefield. The condition for creation is using this courage to describe something not yet seen..."
Kirsten Christensen:
Exhibition of large Italian oil-pastel drawings with ceramic object applied and framed. Small flat houses with photos of the studio, women and animals, and finally a sitting skeleton. Death at last for all of us – important is a life before death."
Kirsten Christensen has made large-scale commission works for the Hjortespring Library (1982), the Aalborg Train Station (1988) and the Køge Badeland (1992).
Marianne Nielsen
The transition from nature object to our thing-ly world interests me, when form becomes shaping and colour becomes decoration. In this project it has been interesting for me to see, how one subject can spread out and hold many different meanings.
Marianne Krumbach
A story. A tale that is open for the viewer to enter.
Elisa Helland-Hansen - VEKT:
Through many years of use, I have noticed how the weight of a cup has its own value and gets importance in the sensuous experience of drinking. An oppressive day, the tea drunk from a heavy beaker may give peace in mind. Coffee in a feather light cup may comfort a fragile condition. Or I can hold a cup, that really irritates... wrong weight for the need of the moment.
This interest in the weight of the cup has resulted in a research of the limits of the cup at a given mass. What possibilities lie in a lump of clay at 222 grams? How many varied expressions can I get from the same weight?
My starting point became a series of 9 beakers with identical profile and size, but with a rise of weight from 111 grams to 999 grams.
