Coupling - Exhibition October 2011

COUPLING
Pipaluk Lake & Jesper Palm DK
Exhibition 6 - 29 October 2011


Exhibition of glass by Pipaluk Lake and photography by Jesper Palm.
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.

In this project the artists have chosen to challenge their usual working methods.

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.

Jesper Palm chooses in this project an opposite order of idea development. Usually he starts working from an idea or a narrative in a dreamlike condition, which is staged in the final photograph or painting.
Here are the given glass objects used as elements in a tableau, where the light plays an important role in the final still-photograph.

LINK: Pipaluk Lake - Jesper Palm

Extrudox A/S - Exhibition September 2011

EXTRUDOX A/S
Anne Tophøj & Steen Ipsen
Exhibition 1 September - 1 October 2011

EXTRUDOX A/S squeezes the lemon!

Steen Ipsen og Anne Tophøj:
“EXTRUDOX A/S is a collaboration, where we research and challenge the ceramic technique, extruding.
We have used this summer project as a play ground and a free space away from our usual methods and projects, to discover and take in new ceramic terrain, challenge each other and try out our boundaries.

None of us have worked with extruding before; but it is a technique in which we both see a potential in relationship to our own individual work.
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.“

Steen Ipsen and Anne Tophøj have known each other since they started at the Design school in Copenhagen (Skolen for Brugskunst) in 1984, and have both been involved in ceramic education in Denmark teaching at the Denmark Design School in Copenhagen and Kolding. They have individual ceramic careers and exhibit nationally and internationally, in recent years for example in Paris, Milan, New York, Brussels, Hamburg, Shanghai….
- www.steen-ipsen.dk - www.atop.dk

Thanks to:
Danish National Studios of Art – for use of metal studio
SuperFormLab, Denmarks Design School - for use of the extruder
assistant Theis Lorentzen, student at Denmark Design School - Bornholm

Kirsten Christensen - Exhibition August 2011

Kirsten Christensen
Exhibition 4 – 27 August 2011
See the new work by an unusual Danish artist, who likes to tell truth and grabs life from the inside...
"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:
"About creation crisis and the sudden conquering of it...
The paradox feeling of real freedom – made the jump back to the cage full of lust; but this time when freedom was real, it was worth all of it.
The studio changed from a burden to fulfil all conditions for creation.

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."
http://www.kirstenchristensen.dk/
Kirsten Christensen has made large-scale commission works for the Hjortespring Library (1982), the Aalborg Train Station (1988) and the Køge Badeland (1992).
In 1978 she became a member of the Danish art association 'Kammeraterne', 1986 'Den Frie Udstilling'. In 1991 she received the Danish National Arts Foundation lifelong award.

Wild & Vigorous - Exhibition July 2011

Wild & vigorous
Marianne Nielsen & Marianne Krumbach DK
Exhibition June 30 - July 30 2011

In July, the gallery shows a 'wild and vigorous' Summer exhibition of new work by the emerging Danish artists Marianne Nielsen and Marianne Krumbach.

Marianne Krumbach and Marianne Nielsen are studio mates in a constant dialogue. In spite of differences in their clay practice, they have a thematic connection – a circling around cultural objects and a 'cultivation of nature' as a starting point of their figures, forms and decoration.
LINK - Marianne Nielsen - Marianne Krumbach

Marianne Nielsen
I have modelled leaves, placed on the wall in a grid they function as a kind of 'species board' – a catalogue of pattern and form/design possibilities. This way the leaf is used more or less figurative between classic nature representation and pure form, - between plate and image. (Artist photo of sketches)
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
I have set a scene in ceramics. A rabbit looks at a set table. A large plate. A glass of wine, Knife, fork and spoon. All in a size that immediately points above you and me. In the middle of the table is a lit candle. At the tabletop the rabbits. Observing. Waiting.
A story. A tale that is open for the viewer to enter.

They both graduated from the Danish Design School – Kolding, and for the last three years they have shared a studio in Copenhagen.

Weight - Exhibition June 2011

Weight
Elisa Helland-Hansen - Norway
- www.elisa-hh.no
Exhibition 2 - 25 June 2011

At this exhibition Elisa Helland-Hansen invites the visitors to lift up the cups – see, touch, close their eyes and sense weight and gravity.

Elisa Helland-Hansen - VEKT:
“In my kitchen live 44 different cups and beakers. They are not randomly chosen. And neither their weight, size, volume, form, surface and expression are random.

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.
Through the evaluation of this row of cups grew new series, where the relationship between weight volume and apportion of mass got a special attention. Further on my choice of glaze, colour and pattern became influenced by the character of the specific cup.”

Branch Stump - Exhibition May 2011

Branch Stump
Martin Bodilsen Kaldahl DK
Exhibition 5 - 28 May 2011

What can a branch stump talk about? - Why make it in ceramics? - What wondering does it start? - And when is it even a branch stump.

Martin Bodilsen Kaldahl: “The turning point of this exhibition is the branch stump. Not the actual branch, but the stump.
It is about the section, the part – which in itself holds the whole form of the tree, that it once came from. The physical presence of the tree is – in competition with the cat or dog – probably one of the visual forms, that we are first of all acquainted with in our life. An archetype. With time the root-trunk-crown-iconography change radically for most people; and for some the tree merely stays a tree. A tree is a tree – a branch is a branch. That’s it.

The direct impression of the anonymous branch stump, that the cast form in clay gives, is here set in a dialogue with various modelled variations of it. Both in the pure meeting of the form and with the surface patterns set in play.

The materials, that the objects are made from, place them solidly in a non-nature-sphere. Like the ceramic figures they depend upon, that the tactility, colour and applied ornamental actualities transform the easily recognisable into an open world of imagination.”
Photo of pieces: Ole Akhøj - Photo of exhibition: Ann Linnemann

In recent years, Martin Bodilsen Kaldahls exhibition activities have included the exhibitions at The Danish Museum of Art Craft and Design in Copenhagen: 'The digital clay', 2008 and "END" (English/Norwegian/Danish exhibition group) in 2007.

In the Woods - Exhibition April 2011

”In the Woods...”

New maiolica-pieces by the ceramic artist Peder Rasmussen

Exhibition March 31 – April 30 2011

Peder Rasmussen: "In the woods, we meet all those, who try to be in contact with the birds and maybe learn about singing or flying. We see the many different kinds of trees and also run into people, who are just absorbed in themselves and enjoy life in their shadow.

There are naturally also those, who are out on a frisky hike, and not in the least those, who might overdo it and try to become a kind of nature themselves."

Website LINK - Peder Rasmussen

The exhibition consists of various series of figures and plates, which were made during the winter 2010-11, when Peder Rasmussen experimented with the old Italian maiolica-technique, which he first encountered in 1970, when for a period of time he lived in Faenza, the home-town of faience.

Photoes of the individual pieces: Peder Rasmussen - Photoes of the exhibition: Ann Linnemann

See Video - part 1 - YOUTUBE

See Video - part 2 - YOUTUBE