Ann Linnemann studio gallery

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MOVEMENT..
Asger Kristensen, Lone Borgen and Stephen Parry UK
Exhibition 6 - 29 March 2014

Experience pieces encounter with the past and present - in movement..
The exhibition focuses on established ceramic artists working with form, material and narrative in a very personal and ever reflective development – moving, meaningful and personal ceramic pieces.

Asger Kristensen exhibits elusive ceramic objects in clay and glaze, describing the contradictions in the meeting between concrete form and abstract structure - the sensitive and sensually discovered.

Lone Borgen shows with her British colleague Stephen Parry collaborative pieces, moving from the traditional vessel into an abstract dreamy storytelling world, - layer by layer revealing their personal and artistic dialogue.

LONE BORGEN DK & STEPHEN PARRY UK - by Stephen Parry
“First our work tells the story of a coming together of two artists working and living in different surroundings and countries.

Second, as a series of pots which are designed to drawn the viewer into a world that can be beautiful, but at the same time awkward and sometimes disturbing.

The beauty but also the danger of reptiles and insects have always fascinated me.

My father was a Cambridge zoologist, and I was brought up in a house full of books, with beautiful illustrations of spiders, snakes and many other creatures, sometimes even the real thing!

We have used some of these illustrations in our new work alongside images of doors, window, old sheds, and other familiar objects which we all see every day, but at the same time don’t notice.

Although we have been making our collaborative work for some years now, our work never stands still; it is a continual dialogue between two artists never compromising, always embracing each others ideas and inspirations. We have used this exhibition to express some of our early experiences and influence.

I feel that collaboration between two people – in our case two very different personalities coming together, is bound to result in some unique and extraordinary work.

In this work we have looked back at our first passion for ceramic, which includes Greek vases, and Japanese Oribe ware, but with the experience and that we’ve gained in our life’s since.

Its always difficult to know or predict what others will see in our work, but I would like to think that the viewer is drawn to our work first by the form, which is familiar and safe. When drawn closer; through our use of ceramic transfers, our intention is to immerse the viewer into another world. One that is intended to create emotion.

We started our ceramic carers in a similar way; In England in the 70’s, when the Leach studio pottery movement was at its height. Since then our work has taken very different directions, in two different countries.
My own work is much more involved with the material and process. By using kick wheels and wood firing, there is a fine balance between control and allowing the clay and fire to give its own life to my work.
Where as the strength in my work come from subtlety and under statement. In Lone’s work there is no holding back, daring, experimental, expressive are the words that come to mind.
To be able to recognise each other’s strengths, and work together can result in some exiting pieces.
Our work is thrown using stoneware clay then glazed with a mixture of glazes that are layered over each other.
The work fired to 1180 c for a long time sometimes over 20hrs, allowing the glazes to merge into each other and run down the pots. After the glaze firing two types of transfers which we make ourselves are applied, digital colours and laser print transfers, also gold lustre, then pots fired again.”

Collaborative work started in 2006 - EXHIBITIONS Gallery Clifford Daugaard 2008, Gallery Uggeby Lønstrup 2009, Naunehøj Mølle Grenå 2010, Orangeriet Interiør, Espergærde 2012-2013, Fra sans til samling, Erik Veistrup Danmarks Keramikmuseum 2012, Galleri Noerballe Augustiana 2012.
Lone Borgen has a studio in Aarhus Denmark, was educated at Croydon College of Art England 1976 and exhibited same year at Ceylon Tea, London. After eight years residency in England, she established her own studio in Denmark in 1977. Has worked as a guest teacher and lecturer at the Kolding School of Art and Design (Kunsthaandvaerkerskolen). Studies in Europe and artist residency in Mexico 1982-83 and Kenya 1997. GRANTS and AWARDS Ole Haslunds Fond 1986, Statens Kunstfond 1977 and Aarhus Town Council 1997. Since 1978 Member of the Danish Arts & Crafts Association (Danske Kunsthaandvaerkere).
Lone Borgen's own work include wall commissions, fountains and functional ware. www.loneborgen.dk
Stephen Parry was born in Scotland, has since 1981 a studio ‘Ryburgh Pottery’ in Norfolk making wood-fired stoneware and porcelain pots. Trained and worked at Owen Watsons pottery, France 1970 - Studied ceramics at Croydon College of Art 1974-77, student at Dartington Pottery Training Workshop under Starkey, Casson & Leach 1977-78. Worked and taught at Dartington Pottery 1978-79.Part-time lecturer at Southend College of Art 1980-85 and Camberwell College of Art 1981-01. Professional Member of the CPA 1995. Commissions 2005 The Rocket House Museum, Cromer (5 tile panels). Stephen Parry’s work is sold throughout the UK in shops, galleries, exhibitions, & his own showroom in Norfolk. He has also exhibited in Germany, Holland, Denmark and Japan. www.spwoodfiredceramics.co.uk

ASGER KRISTENSEN - The tree's life cycle
"Small tales about the tree's life cycle, its birth, growth, decay and renewal - a good metaphor for the human life cycle.

I have worked with modelled trees for hanging on the wall. They are painted with clays that give them vigour and delicacy in the matte off-white surface.

In the same technique I have, for other objects studied this minimalist expression. In contrast, I have worked with more colourful objects where the glazes are allowed to unfold on built structures of rolled clay sticks, wrapped with gauze soaked in clay. It has been interesting to examine what happens to the form when the construction is wrapped with a thin cotton fabric.

My overall concept has been trying to put stories into my work, which is about general human condition, but also to a large extent the difficult transition I have been through the last few years, confronted with 'the big question of Life'.
Compared to my previous works, I now have a greater focus on the story. Some of my pieces have an unusual simplicity, which perhaps is about daring.

My inspiration is nature, especially the tree and the symbols in it, but also the physical/organic, almost human forms. (Hans Christian Andersen's fairy tale)
It may be interesting for the viewer to try and find what the point is with these a bit subtle objects.

Stoneware and clays fired to 1280 degrees. The objects are modelled and extruded tubes that are composed. Some objects are painted with clays and stay raw and dry, while others are glazed - in many cases with multiple layers of glazes, and sometimes they have to be glazed and fired repeatedly."

Born in 1951. Educated at the Arts and Crafts School, Kolding 1980-1984. Own workshop since 1985. - Teacher at the School of Applied Arts/School of Design, Kolding 1992-2004. The Danish Arts and Crafts Award of 1879 in 2000. - EXHIBITIONS Gallery Nørby Copenhagen, Scottish-Gallery, Edinburgh, Barn Galleries' Collect in the Country 'Aston UK, Gallery 55' Bogense, 'Large Formats' SAK Svendborg 2012 Gallery Pagter 'Ceramics' 2010, International Ceramic Museum, Grimmerhus DK 2007 ... - ARTIST-IN-RESIDENCE National Danish Studios for Arts 2009/2010, Anne Grete's House in Provence 2011-2013/2014 - Neue Keramik, magazine articles 2009-2011 REPRESENTED in several collections - Danish Arts Foundation purchased a vessel for the Rigshospital. Member of BKF, Danish Arts and Crafts Association and The Danish Sculpture Community.
www.havlitstentoj.dk - blog: www.asgerkristensen.tumblr.com

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...

KIRSTEN HØHOLT – www.kirstenhoholt.dk
"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.

MARIE TORBENSDATTER HERMANN - www.mariehermann.dk

"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 - www.formuleret.dk - 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.