Best of Ceramic Websites.

Friderike Zeit very Stunning design, layout and compliments the work very well.

Best of Ceramic Websites.

Table of contents - websites for;

Mavericks, Designers, Designer Makers and studio Ceramists. Ceramic Artists and Expressive Ceramists, Ceramic Crafts People (Expressive Crafts), Galleries and Museums, Centres of Excellence and Ceramic Organisations.

Introduction. This blog entry is my choice of the best of Ceramic Websites, showcasing a wide spectrum of Ceramists, whose work I appreciate and deem to be cutting edge at this very important and critical juncture in the history of one of the oldest craft forms. The list includes expressive ceramics, ceramic design and those who focus on the craft of ceramics, one-of-a-kind ceramic statements. I trust this will not only be beneficial from a website point of view, but also shed light on the best of contemporary Ceramic work. Work that challenges and ask questions about the value ceramics offer in the wider context of material culture. Its relevance and importance in this regard.

The past month or two I have been investigating websites to determine the parameters for designing a suitable website for myself. Being a ceramic sculptor, academic and aspiring designer I had to make sure it embraced all these career focus areas. However it would need to be useful, usable and desirable, to use Richard Buchanan’s definition for defining good design – in the simplest of terms. Simple yet effective is what a website should be. Even though I am an academic and have designed a number of products, the main purpose of the website should be to promote my expressive Ceramics – capturing all the work sequentially since my fist successful one person exhibition at the Michaelis School of Fine Art ( Masters Graduate Exhibition). Here follows the best of websites visited.

Marek Cecula's Website.

Maverick - a Ceramist; a cut above the rest.

Marek Cecula - the Michelangelo of Ceramics. His website is embraces the entire spectrum of ceramics - Ceramic Artist, Designer and Educator. His website is therefore a fine example for those ceramists working across the broad field of the discipline and whose work is of a serious and conceptual nature. His website is very simple and easy to use.

Designers, Designer Makers and Studio Ceramists.

Contemporary Designers are making one-of- a-kind ceramic statements that challenges our perception of Ceramic Craft and Design. Marcel Wanders (his website is a feast) and Hella Jongerius (inspirational Website) (also visit the Fragiles website) have led the way, leaving a dramatic impact on the ceramic sector, the impact of which is felt globally; both on the aesthetic and market share of ceramics, especially the craft and studio ceramic sector. Here follows a number of websites showcasing the best of developments in this highly competitive field of ceramics. I have also included studio Ceramists in this particular ceramic sector. The new Book Breaking the Mould - new Approaches to Ceramics, documents a comprehensive list of the represented artists websites in the back of the book.

KleinReid James Klein and David Reid consider themselves Designer makers, their products a fusion of great design and fine craftsmanship. In their own words, borrowed from their website, “Their influential atelier is renowned for its elegant forms, dense, translucent porcelain, artisanal glazes, and fine ‘from scratch’ craftsmanship".

Julian Stair's Website.

Julian Stair for its simplicity – comprehensively and clarity in terms of artist intent. Flash gives this site its added value when the mouse hovers over the thumbnail images they enlarge. The site also does justice to the work, in terms of style, design and layout. The choice of categories/ menus works extremely well – especially the section on current, archival projects.

Maxim Velcovsky's Website.

Maxim Velcovsky a contemporary Czech Industrial designer of note, also famous for his contribution to ceramics, his products manifest a quirky manipulation of consumerism - a creative force conceptualised and realised behind the “iron curtain”. His work makes mockery of the barriers that exist between high art, design and craft, and is a fine example of ceramic ornament challenging the notion of function and non function.

Ceramic Artists (Expressive Ceramists)

Here is my choice of Ceramic Artists, Ceramic Sculptors and ceramists working in the expressive function of the medium (exclusively in clay). This is largest selection due to the fact that I consider my work to fall within this category of ceramists. What follows is a selection of websites showcasing the diverse range of design styles and approaches to the creative tools available and choice of colours including the use of images and categories for archiving relevant material.

Richard Slee's Website.

Richard Slee A very simple site, probably all one needs. Quirky like his work, this site provides the bare essentials, and works extremely well. The site is beautifully designed, mainly deep edged images of the work, very crisp, set against a light grey metallic background. It offsets the brightly colour glazed ceramic pieces marvellously. By clicking on his name (in black) his resume and galleries are displayed.

Friderike Zeit very stunning website design and layout - it compliments the work very well.

Claudi Casanovas

Chorafas Theodora

Paul Scott although under construction - the information provided about the artists work, history links with industry, etc is very comprehensive and informative from every conceivable clients perspective.

Ting-Ju Shao

Barnaby Barford's Website.

Barnaby Barford.

This is a highly professional ceramic website, showcasing the extent of the artists creative endeavours. The site is highly sophisticated and it is a product that reflects the extent of the tools and services available to you should you have access to resources to utilize the technology to maximum impact.

Susan King"s Website.

Suzanne King.

One of the cleanest, simplest of sites, very effective and showcasing the work to best effect. Very understated, yet sophisticated with phenomenal images of her work. This one of my favourite sites.

Ken Eastman's Website.

Ceramic Crafts People (Expressive Ceramics - Crafts).

Here is a selection of Ceramic Crafts People whose work and websites are at the cutting edge of their field. Without a doubt Ken Eastman's site is the most successful. The site is very simple, stylish and highly informative. The choice of background colour showcases the work magnificently, the images (excellent lighting - natural, not too much special effects and photo shopped) The work is photo-documented as close to the real thing as possible. The categories for archival material on the website and layering is very simple and effective.

Ken Eastman ceramics. Arguably the most effective ceramics site.

RytkÖlÄ, Johanna. Thie site uses a more complex approach to showcase work, but remains simple and effective.

Sasha Wardell. Very stylish and simple site - the listing of exhibitions is both informative and insightful.

Anne-Katrine BÜlow. Website with a black background that is suitable to the work at hand.

Tanya Gomez. This site, the artists link to nature, is well illustrated and documented (text requires editing) and will be of interest to those ceramists whose artists statement and products (including surfaces) have strong visual references and representation - inspirational images used in the website to great affect.

Bodil Manz portal at Pulz Contemporary Ceramics.

Galleries and Museums.

More than often Ceramists do not have their own specific official website. They are represented by their gallery, an agent and or appear on an organisational website only. They are therefore incorporated on the list of artists residing at the gallery (agent or organisation) and appear on the gallery and organisational website. This could be that they focus on their work (dedicated) and not the marketing and communication aspect of their business - this responsibility resides with the agent and or gallery owner. Bodil Manz is one such example - above is her portal at the Pulz Gallery.

Puls contemporary ceramics Denmark.

Puls is the only gallery in Brussels exclusively dedicated to ceramics. The gallery stages around eight exhibitions annually, showing the best of international contemporary ceramics, with a special focus on Denmark. The gallery is divided into two spaces, whereby the main space will typically show works of established artists. The second space is where young, promising talents are given a platform, people who will put their stamp on the next generation of ceramics. in both spaces, Puls contemporary ceramics is committed to pressing its finger firmly against the thumping pulse of the 21st century.

Gallery Besson. London England.

Gallery Besson. London England.

Gallery Besson has a world-wide reputation for exhibiting ceramics and has been in existence since 1988 in the heart of London's West End.

The gallery runs mainly one-person shows of contemporary ceramic artists from all over the world. We also carry a permanent stock of ceramics - including a significant collection of works by 20th Century ceramic artists Hans Coper and Lucie Rie. Current, past and future exhibitions are listed on our Exhibitions page, which is updated regularly. In addition to these gallery exhibitions, our website now features an online showcase of works from our Cupboard. Our Artists page features artists by whom we are likely to have pieces available in our permanent stock. The website also now presents information about the Fairs that we attend in New York, Chicago and Palm Beach. Information about other gallery projects can be found on our Newspage.

Ceramic Crafts people represented on their website include the following artists of note. Jennifer Lee, Bodil Manz, John Maltby, Claudi Casanovas and of course the work of Hans Coper and Lucie Rie. The various ceramists are divided into the following two groupings, classical and contemporary.

Jennifer Lee. Each ceramic artist is given significant space and presents a detailed historical overview of their careers. The layout is simple but effective and professional.

Galerie Marianne Brand. This site is simple and stylish with excellent images. I found the entry page informative and effective. The gallery is truly representative of all forms of ceramics - the owner progressive in her thinking. Artists include a diverse range of contemporary ceramists including Arnold Annen, Tony Franks and Lynda Draper.

Foundation KERAMION. Centre of Modern + Historical Ceramics Frechen.

The Frechen Historical Museum for Ceramics.

The Frechen Historical Museum for Ceramics was founded in 1985 and shows the centuries-old unique pottery tradition of Frechen. Mention should be made of the world-famous Bellamine jugs. In 2002 the Cremer Collection and the Historical Ceramic Museum of Frechen were merged into Foundation KERAMION. Since this time they have been trading under the name of Centre of Modern + Historical Ceramics Frechen in the characteristic building on Bonnstraße. The director of the museum is Gudrun Schmidt-Esters.

Icheon World Ceramic Center Korea. for more information access link below.

Centres of Excellence.

The following sites focus on centres of excellence; claiming supremacy in terms of global status as the leaders in the ceramic sector on all levels. These centres have their origin out of the foresight R&D programme embraced by countries (late eighties) to determine their leading economic industry sectors (Agriculture, Manufacture, Health and or Tourism). Countries as a result of the study boosted the infrastructure of the sector (in this case the Ceramic Sector) with resources on all levels, including education, labour and assets to ensure they became the world leaders in the field. A major Ceramic Competition, Museum, Conference and Educational Centre promoting ceramics on all levels within the heart of the Ceramic's Industry, Community and or Cultural Hub was developed and is being maintained. The following sites provide insight and access into the worlds major Ceramic Centres of Excellence.

Mino Japan.

The Museum of Modern Ceramic Art, Gifu, located within the Ceramics Park Mino industrial and cultural complex, a facility that highlights ceramic items of which Gifu is justifiably proud. The museum building, designed by Arata Isozaki, harmonizes with its natural surroundings and gives visitors a feeling of being close to nature. Focused on the theme of modern ceramic arts, the museum collects modern and contemporary ceramic works from within Japan and around the world. The museum's goal is to hold a variety of exhibitions in future. In order to promote a new culture of ceramics, the museum also plans to collect and exhibit utilitarian ceramics, an area overlooked by most other museums, as well as industrial ceramics from the realm of modern design. Have a look at the ceramic time line. Oribe Square. In the Ceramics Park Mino, the other area apart from the museum is called Oribe Square. Here, a multitude of delights and possibilities are on offer: commercial fair facilities enabling exchanges of creative ideas between professionals, as well as a restaurant and tea rooms, a pottery practice studio, educational amusement facilities, and last not least a promenade and viewing platform.The Sanbao Valley had for countless centuries been the source of Chinastone for the studios of Jingdezhen and was dotted with numerous old water-powered hammer mills for crushing the stone. A group of farm houses and an adobe building were chosen as the site for the future art center.

Tours of China began in 1995 through the offices of Alfred University. Later the tours were organized by China Ceramic Cultural Exchange, created to facilitate educational and cultural exchanges between China and the western ceramic world.

Sanbao Ceramic Art Institute at Jingdezhen China.

Sanbao Ceramic Art Institute at Jingdezhen was officially inaugurated in June of 2000. The institute has since been very busy hosting Porcelain Symposiums, organizing customized and personalized tours and visits throughout China to areas of interest to artists and artisans, establishing university level ceramic instruction, summer school ceramic courses, celebrating the 1000 years of porcelain in Jingdezhen in 2004, participating in in the NCECA student scholarship program, offering residencies and fellowship programs to the international artists and artisans, as well as organizing many other international artistic and cultural activities in China.

World Ceramics Exposition Foundation Korea. Icheon World Ceramic Center, Gwangju Joseon Royal Kiln Museum, and Yeoju World Ceramic Livingware Gallery, museums that house ceramic art exclusively. image above.

The World Ceramic Exposition Foundation (WOCEF) was founded for the purpose of pioneering new fronts for ceramic art in the 21st century, as well as providing a basis for the Icheon, Gwangju and Yeoju regions to grow and develop into the centers of the international ceramic community. An important means of such growth would be the World Ceramic Biennale Korea (CEBIKO) that is to be held in Gyeonggi Province on a regular basis.

The World Ceramic Exposition Foundation is also involved in activities and enterprises such as the organization of exhibitions, education, research, marketing and assistance to local ceramic industries for the promotion of world ceramic culture, art and industry.

British Ceramics Biennial Stoke on Trent, England.

From national awards to international artists from business support to contemporary design – and from Stoke-on-Trent, the centre of the British ceramics industry, to the world’s creative community: this is the British Ceramics Biennial.

Tapei County Yinko Ceramics Museum Taiwan

John Shirley, South African Member of the International Academy of Ceramics. Each individual member has a page with direct access to their website, blog and or a link, be it a gallery or shop. Access to the personal sites are conveniently provided in the maroon block below the artist's name.

Ceramic Organisations.

There are numerous ceramic specific organisations, operating internationally, on various continents and regionally in various countries (either by state, province and or pertaining to the type of work) each with their own aim and objectives; furthering the cause of ceramics on all levels. For your convenience I have incorporated a few organisations whose services to ceramic sector is highly commendable and beneficial to both its members and the consumer respectively. Their websites are well designed, maintained and very informative from a research and development perspective. The site provides direct access to websites, blogs and links to a wide range of ceramic interests internationally. It is interesting to note that not many members have websites and or make use of the facility to provide direct access to their personal sites and or links to promote their work.

International Academy of Ceramics

The International Academy of Ceramics is the principal organisation representing the interests of ceramists worldwide. Its membership consists primarily of individual makers, supported by writers and critics, Museum and gallery curators, and private collectors. Correspondent membership is available to professional associations, ceramics work centres and educational institutions, which considerably extends the networking capacity of the Academy. Current membership consists of nearly 440 makers, a further 75 individual members, and about 25 correspondent groups, representing a total of 55 nations from all continents.

The aims of the Academy are to present international contemporary ceramics at the highest level, to encourage cultural cooperation through ceramics around the world, and to facilitate communication between ceramists and museum curators, private galleries and collectors, art schools and other professional Institutions.

Swiss Ceramics.

We strive for the best possible conditions for the creation and the propagation of Swiss ceramist's work. Our support is not only through presenting prizes and financial contributions, but also through giving advice, mediating contacts, and providing logistical help. We promote exchange and discuss cultural and professional issues amongst our members across language barriers and we network with ceramists both inside and outside of Switzerland. We maintain connections to various ceramic organisations in Europe, the USA, and Asia and are members of the AIC (Academie International de la Céramique) and the WCC-Europe (World Craft Council Europe). We encourage the debate of ceramics in theory and practice. Our goal is a lively dialogue both among and with our members based on personal contacts.

Arnold Annen and Philippe Barde sites are worth seeing. Arnold Annen and Marek Cecula are both ceramic mavericks whose work I appreciate and whose contribution to ceramics (as ceramists) are a cut above the rest.

International Ceramics Studio

The International Ceramics Studio(ICS) is a ceramic art centre located eighty kilometres south of the Hungarian capital, Budapest. The ICS was created in Kecskemét on the initiative of Hungarian artists who had felt culturally and ideologically isolated. It was the wish for freedom and the desire to work alongside international artists that led to the founding of the centre.

The mission of the studio is to promote the formal, aesthetic and technical development of ceramics and to help foster creative skills. The studio is open to all challenges of ceramic research, design and experiment. With this in mind the ICS offers modern facilities and kilns, ample studio space and technical support.

Ceramic Work for SA's Constitutional Court.

Exquisite Slave / Popsy / Popsie, Earthenware fired, slipcast Ceramic Sculpture with ceramic decals and gold lustre.

The work above has been accepted into the Constitutional Court’s Art Collection. The Constitutional Court of South Africa is the highest court in South Africa and it’s main function is to deal specifically with constitutional matters. It was born out of the country's first democratic Constitution in 1994. In an acclaimed new building at Constitution Hill, the 11 judges stand guard over the Constitution and protect everyone's human rights.I was privileged to be part of the second last walkabout conducted by Judge Albie Sachs two months ago (he retired last month). He took over ten years to collect the works, the majority of the art works donated by the artists themselves whilst a large number of works were donated by the judge himself.

First Ceramic work to be accepted into the collection.

This is the first ceramic work to be accepted into the Constitutional Court’s Art Collection. They accepted the donation of the work with these kind words “The Artworks committee of the constitutional Court met last week and they are delighted to accept your work 'Exquisite Slave / Popsie / Popsy' into their collection. They felt that the sensitive and humorous way in which you have portrayed difficult human issues is perfect for the collection. The obviously excellent technical standard of the work and the need for ceramic work in the collection made this an easy decision.”

Ceramic Statement's Concept.

This sculpture comments on rape and violence in South African prisons - especially the impact it has on the inmate's masculinity. Sex is never discussed or even spoken about and when it is mentioned, it is referred to as "Daai Ding" (that thing) in Afrikaans. Attractive young men that commit a crime and get sent to prison will have to defend their masculinity by stabbing a warden or another inmate, if they don't, they will require protection and through subtle favours will become someone’s wife / "wyfie". Should they refuse, they could be raped and then their masculinity and respect as a criminal is gone forever anyway. One cannot imagine how it really affects such inmates, especially when they return home to their real wives and kids on release from prison.

The following two quotes appear as ceramics transfers on the base of the ceramic sculpture. They were captured in a South African correctional services report on rape and violence in our prisons.

We are all criminals in here and if I say you are a criminal that means I respect you. But if you have (had) sex (done to you) it's obvious that they will (see) you differently. Even the criminal in you is now gone and you are now a "wyfie" (someone’s wife). There is nothing we can do for (a person who has been raped) and we don't care.

If I allow myself to become a lady, I am going to be a "wyfie" until I finish my sentence. That's definitely sure and that's the truth. Even if I can be transferred to (an) other prison the guys there will know that where I come from, I was so-and-so's wyfie" (wife) and will make sure that I become a wife there.

marek cecula 's transgressive in dust real whitewares

Burned Again.CH.4. Industrial Porcelain, (Royal Copenhagen) wood fire 16x16x25 cm. In Dust Real, Photo Sebastian Zimmer.

Marek Cecula is an ever evolving, conspiring, ceramic conceptualist. His knowledge of ceramic art, craft and design history including traditions (craft forms) empowers him to create artefacts that sit transgressively in between ceramic disciplines. He embraces the ceramic discourse and translates mundane ceramic products into cutting edge artefacts of mainstream cultural significance, the gestalt of which elevates this ceramist far beyond that of any of his ceramic peers.

Transformation. RC, 9. Industrial Porcelain, (Royal Copenhagen) wood fire 38x38x43 cm. In Dust Real, Photo Sebastian Zimmer.

His ceramic statements are metaphors for ceramic change and even challenges consumer values. But more importantly these products are imbued with significance that challenges our notion of the role of the artefact within an ever changing globalised society. He does so at a time when the very fundamentals of studio ceramics and craft traditions are being questioned, challenged and metaphorically speaking, sadly buried. It is in the design and development of his work titled in dust real that his conceptual insight is exemplified (revolutionary) and the body of work attains an archetypal status yet to be fully understood and or appreciated in the wider context of mainstream art.

Burn Again CM. 1. Industrial Porcelain, (Royal Copenhagen) wood fire 22x12x10 cm. In Dust Real, Photo Sebastian Zimmer.

The significance of which is seen in the context of my theoretical blog entry; beauty in the creolisation of cultures with reference to altermodernism; where the transgressive role of the work of art facilitates greater interaction, collaboration and cooperation amongst cultural practitioners to confront internationalism. This concept is also manifested in the products of contemporary designers and architects as the barriers of disciplines disintegrate and the dominant notion of western art history is challenged. Cecula’s latest work also challenges the present consumer’s complacency in taste for whiteware, or from another perspective, a lack of investment in the handcrafted product; imbued with heart and soul. This body of work raises many questions and the answers lie within the ceramic community’s willingness to respond to the challenges laid down by these beautiful artefacts, yet emotionally charged complex ceramic statements.

Transformation. RC, 13. Industrial Porcelain, (Royal Copenhagen) wood fire, 70x30x28 cm. In Dust Real, Photo Sebastian Zimmer.

Altermodernism; Beauty in the Creolisation of Cultures

Fight of Oppositions. (Kampf der Gegesatzlichkeit), Wilfred Maria Blum. 1993, H25cm. German Ceramics 1900-2000. Ceramic Review 201 May/June 2003. Photography -Henning Arndt.

In developing ideas for the fruit (of ideal beauty see previous blog entries) it is necessary to contextualize the concepts from a theoretical perspective. This blog entry therefore provides a glimpse into recent thought about contemporary art experiences. I chose the ceramic piece (above) because of its title and more importantly, its exquisite beauty. The stylisation of the forms and complimenting surfaces embodies everything I love about ceramics; a masterly crafted ceramic sculpture further enhanced by a suitable choice of clays and glazes.

Manifestation of synchronicity.

However I was initially unaware of its close association with the subject at hand (yet again a manifestation of synchronicity). The lion and the unicorn are the major characters in the heraldry of the United Kingdom. The lion representing England and Wales whilst the Unicorn is a symbol for Scotland. The traditional legend of enmity between the two heraldic animals is recorded in a nursery rhyme (below) linked to historically significant events in the history of cultures merging to form an integrated nation. The rhyme's significance is expressed in a variety of cultural contexts throughout history. It is within the context of globalization that such narratives are often revisited as cultures are "furiously and knowingly coming into contact with each other" (Bourriaud, 2009). Folklores and identities are often the focus of art works (in translation) as expressed in curatorial discourses and practices in the contemporary art experience.

The lion and the unicorn

Were fighting for the crown

The lion beat the unicorn

All around the town.

Some gave them white bread,

And some gave them brown;

Some gave them plum cake

and drummed them out of town.

Symbolism;

Unicorn. The lunar, feminine principal, with the lion as the male;chastity; purity; virginity;perfect good; virtue and strength of mind and body; incorruptibility. The conflict between the lion and the unicorn represents solar and lunar powers and the pairs of opposites (Male-female forces). Lion is the king of beasts. Ambivalent as both solar and lunar, good and evil. As solar it represents the heat of the sun, the fiery principal; majesty; strength; courage; fortitude; justice; law; military might. (Copper JC, An illustrated Encyclopedia of Traditional Symbols, Thames and Hudson. 2005)

Beauty in the Creolisation of Cultures..

Birnbaum sates that the Art at the Venice Bienalle 2009 was created in the knowledge that we are living in a world where cultures are coming together, "changing by exchanging, through collisions and ruthless wars - but also through breakthrough of moral concious and hope". He refers to Internationalisation as an emancipatory power that liberates individuals from the limitations of their local culture and that there is undoubtedly a "homogenizing tendency towards the levelling of cultural differences, turning the world into a place of monotonous sameness". It is at this juncture that Art acts a counterforce - "an insistence on differences that have nothing to do with the political reactionary return to nationalism" (The Venice Bienalle, L'UOMO 401 2009; 246) .

His expressed views on the Bienalle should be reviewed against the manifesto of Nicolas Bourriaud (curator of the fourth Triennial Exhibition), in support of the title for the exhibition Altermodern as outlined below.

Nicolas Bourriaud states that Post-modernism is dead, and that we are experiencing the emergence of a global altermodernity; "multiculturalism and the discourse of identity is being overtaken by a planetary movement of creolisation; cultural relativism and deconstruction, substituted for modernist universalism, give us no weapons against the twofold threat of uniformity and mass culture and traditionalist, far-right, withdrawal" Altermodern Manifesto Tate Triennial 2009.

Modern, Postmodern, Altermodern?

"Multicultural ideaolology pretends to resolve the problem of modernism from a quantitative point of view: more and more 'cultural specificities' rear their heads, and, supposedly, this is positive. A new internationalist spirit has taken up the relay of the modernist universalism, but it lies in the internationalism of folklores and of ' identities'. Artists are looking for a new modernity that would be based on translation; What matters today is to translate the cultural values of cultural groups and to connect them to the world network. This 'reloading process' of modernism according to the 21st century issues could be called altermodernism, a movement connected to the creaolisation of cultures and the fight for autonomy, but also the possibility of producing singularities in a more and more standardized world" (Nicolaus Bourriaud, Director Palaisde Tokyo, Paris)

Essays

Barry B L (1992), The Creolization of Liberalism, www.ed.uiuc.edu.

Bourriaud N (2009), Altermodern Manifesto, www.tate.org.uk.

Cvoro U (2005), Transforming Aesthetics (Conference Report), eprints.usq.edu.au

Birnbaum D (2009), Young outlook on art's WOLRD stage, L"UOMO,246.

Jones J (2009), The altermodern love, www.guardian.co.uk

Belcehr S (2009), altermodernism is the new world order, www.artreview.com

Sheller M, Creolization in Discourses of Global Cultures, books,google.co.za

Tattooed Rats win award.

Claypot Award certificate, Glazecor Regional Ceramics Awards Exhibition, Ceramics Southern Africa.

The tattooed rats, the images below, were submitted as a group for Ceramics Southern Africa's regional awards exhibition, and won the Claypot Award (certificate above). The Judge was Wilma Cruise, an acclaimed South Africa ceramist /artist.

Glazecor Regional Exhibition,

The awards exhibition opened last week at the Edoardo Villa Museum, University of Pretoria (South Africa) and closes on the 25 October 2009.

The Self Righteous and the Outcast, Black and white incised Amaco Under glaze colours (sgrafitto) fired to 1200 degrees Celsius.

Pair of Crafty Rats, Incised black and brown Under-glaze Colours (sgrafitto) fired to 1220 degrees Celsius.

Beauty in Ceramics.

Beauty Queens, Ling and Naomi Campbell by Richard Avedon for Pirelli Calendar, Dennis Rodman Contrasto and Kate Moss by Herb Ritts forPirelli Calendar. images from On Beauty By Umberto Eco.

Beauty, Beauty in Ceramics, Future Concepts; an introduction.

Umberto Eco states, "that the mass media no longer present any unified model, any single ideal of beauty. ............Our explorer from the future will no longer be able to identify the aesthetic ideal diffused by the mass media of the twentieth century and beyond. He will have to surrender before an orgy of tolerance, the total syncretism and the absolute unstoppable polytheism of beauty" (Umberto Eco 2004, On Beauty:428) .

Allain De Botton states that "our impression of beauty continually swings, between stylistic polarities; between the restrained and the exuberant; the rustic and the urban; the feminine and the masculine to abandon objects to expire in junk shops at every swerve"(author of Architecture of Happiness; 2006) For the potter this statement has serious ramifications especially in the context of recent developments. Globalisation has brought about radical changes on all levels especially the ceramic sector, impacting even on the production output and market share of big brands such as Wedgewood, Spode and Rosenthal. Did we see this coming - were there any signs? Peter Dormer dropped a bombshell in 1996, captured in his book titled The Culture of Craft, when he predicted the demise of the studio potter. "He stated that market researchers employed by the table and gift ware manufacturers have confirmed that the public wants consistency and desires a dependable almost hygienic neatness in the quality of table ware. This news bodes ill for the studio crafts '(Dormer 1997;11). How right he was and slow we were to respond to the challenge. Some individuals in authority refused to hear, Tony Ford, then director of the British Crafts Council responded by regarding such research "unduly pessimistic".

Grand Prix winner, Ceramic Competition 98 Mino Japan, Ceramist Kati Tuominen Niittyia.

Grand Prix Mino 98. Ceramist Kati Tuominen Niittyia.

White ware honoured as the Archetypal Ceramic Statement (Ideal Beauty).

There were other signs we chose to ignore - when Kati Tuominen Niittyia won the prestigous 5th International Ceramic Competition 98' Mino Japan with the white plate featured above. Take note of the title of the catalogue ironically called Poterie. She has been based at the Ceramic Research and Design Centre at UIAH in Helsinki, Finland for many years and has produced a variety of ceramic products manufactured at Arabia (see images below) more of which can be seen and bought on www.stylehive.com.

Kati Tuominen Niittyia, Arabia cataloque, 1996 -1997.

Finnish Contemporaries, Lizz Mitchell writes on Finnish Potters. Ceramic Review, Nov/Dec 2004;23)

About Cheap Chinese Imports - Beauty adored, admired, coveted and bought.

Today our markets are not just flooded with cheap imports from china, but also quality inexpensive and expensive ceramic white wares are on the shelves of most of the home and lifestyle stores worldwide. - by the way they are also made in China and other major ceramic producers in other countries (including the work above available from, Arabia Finland) with the expertise and a competitive price point. Customers are only drawn to what is fashionable and they only know what they are told (advertising and through catalogs).

Cindy Sherman, Featured in L"UOMO Arts Issue on the Venice Art Biennale 09.

A New direction for ceramics - the Fine Art option (Beauty in Expression).

Garth Clark professed a new direction for ceramics (Fortress Ceramica - Answered Prayers). He called upon ceramists to take the discipline seriously as an art form, on par with the rest of the Fine Art, referring to the work of Grayson Perry (Turner Prize winner). However contemporary art, is about other things says Daniel Bimbaum at the Venice art Biennale (09L UOMO page 243). " Because a work of art is so much more than an object more than a commodity. It represents a vision of the world, and if taken seriously must be seen as a way of making a world" This statement elevates the role of the Artist to that of an 'aesthetic philosopher'.

Four seasons, Hella Jongerius, Hand-crafted and hand -painted porcelain, Producer Nymphenburg Porcelain Manufactory, Photo Credit Nymphenburg Porcelain Manufactory.

The work conceptualised.

"This new collection designed by Hella Jongerius finds inspiration in the figures designed by the well-known sculptor Dominikus Auliczek depicting the four seasons. Hella created archetypes of products corresponding to the character of each season; a hand mirror (spring), a teapot with a silken cosy (summer) a pitcher (fall) and a candlestick (winter). The 'Four Seasons' are decorated with historical stylistic elements and porcelain miniatures" (Fragiles, 2008;140)

Our opposition as Ceramists.

Where does this leave us, studio potters, ceramic designers and or makers, studio ceramists, crafts people and or ceramic artists. Especially when contemplating our new creative endeavour. The matter is further complicated with Fine Art increasingly conceptual and the Design Fraternity capitalising on the one-of-a -kind inspired approach to design and manufacture. More importantly however they have turned to the out of work artisans and craftspeople, to realise their 'couture' inspired 'Neo Sculpture' products - imbued with meaning and significance ( work above by H Yongerius) More of which can be seen in the following recent publications, including Fragiles, Breaking the Mould and Manufractured to be referred to below.

Amnesty International Poster

Beauty in a Globalised society

Beauty is also changing froma global perspective as humanitarian values, ethics and morals take centre stage in a polarised society. As mentioned in previous blog entries (tattooed rats) the enemy is amongst us as religious fanatics and extremists challenge our liberal constitutions and individual rights. Umberto Echo calls for greater tolerance, "The mass media no longer present any unified model any single ideal of beauty" as quoted before "Our explorer from the future will no longer be able to identify the aesthetic ideal diffused by the mass media of the twentieth century and beyond. He will have to surrender before an orgy of tolerance, the total syncretism and the absolute unstoppable polytheism of beauty" (Umberto Eco, On Beauty: 2004:428) .

Knotted Chair, Marcel Wanders (1990).

The New Pretty as Beauty.

The new object of beauty was first brought to my attention in an article written by Antonia Williams in the Australian Vogue Living (September 2005) whilst conducting research for conceptual development for our honours student's learner guides and project briefs. She stated "new ideas are budding in design - ornamental, eclectic and fresh, they are the antithesis of Modernism's 'masculine simplicity'. The new pretty can tap into Happy, you can easily see why, because of new artistry and complexity, with both technological innovation and the handmade with cross fertilisation of the arts, we are entering a reinvented Arcadia" (referring to the pastoral themes in history of art (poetry and music) synonymous with the favoured profession of the rural shepherd)

Grand Magasin (Detail) 2001 Regis Mayot. "Each structure derives from a different hand carved plastic bottle; each bottle carries its own personality and attitude"Manufactured Beauty; Conspicuous Transformation of Everyday Objects. By Steven S Holt and Mara H Skov.

Banishment of the term Craft?.

As our concept of luxury shifts we pursue products with not just a utilitarian function, decorative function and or ritualistic function but also a one-of-a-kind expressive function. The question being asked is, "did the globalisation of the 21st century finally vanquish what the great machines of the previous century could not do to the crafts" The answer is no, the emphatic response is captured in the introductory chapter of the new book titled Manufractured. Crafts has found a new purpose, to a select group, in a variety of creative fields - from art to design, music to theatre and cinema including literature. (Steven Skov Holt, Manufractured, page 11) continued below.

Form follows provocation, Constantin and Laurene Leon Boym. "Cast-off's are rescued for a higher purpose and yields to fantasy. Yesterday's middle-class kitsch finds salvation in today's elite objet d'art"Manufactured Beauty; Conspicuous Transformation of Everyday Objects. By Steven S Holt and Mara H Skov

Manufactured Beauty; Conspicuous Transformation of Everyday Objects. By Steven S Holt and Mara H Skov.

Expounded throughout the publication in carefully selected chapters is the work of contemporary designers showcasing their latest innovative and creative responses to Form Follows a variety of functions, including; Ornamentation, Fabrication, Dissection, Infection, Fusion, Manipulation, Perception to mention a few. The designers and artists often capitalized on the discarded spoils including cheaply manufactured products and services to imbue their creative sollutions with a new found meaning; far beyond what our material specific disciplines and traditions could ever have imagined. They realised their creative concepts in direct response to the same challenges we as designer makers and studio ceramists had to face.

In dust Real, Marek Cecula 2005. Royal Copehagen Porcelain wood fire. Photo Sebastian Zimmer. Garth Clark, Separated at Birth. New CeramicsFebruary 2009 page 36.

Our Buildings and the objects we fill them with affect us more profoundly that we might think - Alain De Botton Architecture of Happiness.

Beauty in the Home - The Home as a physical and psychological sanctuary.

De Botten states that "arguments about what is beautiful are, at heart arguments about values we want to live by - rather than merely struggles about how we want things to look ....our homes are (therefore) a physical sanctuary, psychological sanctuary and more importantly a gaurdian of identity" (De Botton Architecture of Happiness 2005)

The last loaf, by Lenka Holikova. makes an unambiguous statement. No matter how faithfully reproduced and innocently white it may lie there, this loaf is only a memory and cannot fill a hungry stomach. Instead the sub-concious pops up: "how much is our daily bread worth to us" Caption by Olaf Stoy, freelance artist in Bannewitz near Dresdan.

New Concept for luxury - Towards Authenticity; Experience Beauty.

Products of ceramic beauty have to function within a changing world - numerous Ceramic academic departments are closing down whilst the big manufacturers and brands are under serious threat. "Change is not an issue of morality but one of inevitability. One cannot cling to the romance of the past eras and expect to make a fresh comment in one's own time" states Garth Clark and his partner Mark Del Vecchio (quoted by Karen Weiis at www.australianceramics.com). Change is occurring on all fronts, in an ever growing knowledge economy. There is a new concept for luxury "it's less about worth and more about values; less about exclusivity and more about experience - its about buying less, but better" (Elle Decoration UK November 2009; page 19). Customers are moving toward buying products that add real value and meaning to their lives . Indigenous knowledge will hopefully play a much more significant role as we strive to define through personal choices, our true identity and what products communicate about who we might really be - authenticity is the new buzz word.

Mind Map - Marian Bantjes' Influences and Artistic Vocabulary August 2006. Data Flow, Visualising Information in Graphic Design, 2006; 72.

So where to from here? - Reinventing Beauty; a clean slate!.

Finally, white-wares are available in abundance; covering a broad variety of products. In many ways it is a metaphor for change, an opportunity to move forward with a clean slate. A universally accepted utilitarian product; stripped bare of all baggage inherent in the form and surface decoration of previous design styles. It therefore provides us with an opportunity to pursue our craft with a vengeance, to embrace change, shift in a new direction (if necessary) and carve a niche for ourselves within ceramics, in our own backyards (Authenticity and IKS), back home, for the world on http://ceramist@blogspot.com, face book, twitter and or all the above.

Wonderland, Yonder-land, Paradise or Eden.

The Long Black Veil - Jeffrey Docherty (Data Flow - Visualising Information in Graphic Design; )

Here we see the ethereal landscape of the music scene, an ever-changing confluence of sounds and people, shaping, forming, and interpreting, to create the distinct identity of a generation. This sound scape is dedicated to the legendary Tony Wilson a formative figure in bringing British punk to the foreground of the music scene. The solitary strands of white, etched against the black background, trace an auditory topographical map of the 'Madchester' zeitgeist.

Back to work- towards a bowl of fruit of ideal beauty, ingredients of paradise. It is therefore necessary to research Paradise and Eden., with fragrance and fresh fruit to further delight mind and body. The Sumerian-Babylonian paradise, or Garden of the Gods (Christianity, Judaism and Islam - living in harmony with God), was the idyllic garden of peace and plenty reserved for immortals (foretaste of heaven to come) , corresponding to Homer's Elysian Fields and the mystic islands dwelt in by the immortals of Chinese Fables.

House Peter Amm, 20 hectares in Kloof KZN, South Africa.

One of the most splendid gardens I have ever had the privilege to enjoy - my own paradise for the past weekend. Truly paradise in the true Hobhouse garden fashion; complete with life-size sculptures. A self sustainable contained aesthetic wonder, created by the Amm family and perfected by Peter Amm himself.

What is Paradise?

"In most traditions Paradise is an enclosed garden, a garden-island or a green Isle, notable exceptions being Christian, where as the New Jerusalem it is a city. One expects there to be perfect communion between God and man and all living things. It also represents the innermost soul, the abode of immortality; a place where time stands still. Great time; the state in which heaven is so close to the earth that it can be reached by climbing atree, creeper or mountain, or an axial symbol" (Cooper J 2005, An Encyclopaedia of Symbols, Paradise)

The stoep, House Peter Amm, 20 hectares in Kloof KZN, South Africa. My paradise for the past weekend.

J C Cooper describes paradise as an enclosed space or surrounded by the sea and is only open to the heavens. As god and man can communicate there, so man and animals live in perfect accord and speak the same language (harmony and tolerance). symbols of paradise are the centre; the enclosed and secret garden, having bird song and scented flowers; the rose garden; the island of the Blessed; the Green Isle; Elysian Fields; the promised land; El Dorado; a cluster of Pearls Chinese (Cooper 2005;Paradise)

House Peter Amm, 20 hectares in Kloof KZN, South Africa.

What is a garden asks Hobhouse. "the English word derives from the French jardin and the Teutonic roots of the word 'yard' - an enclosure, usually walled or fenced, in which soil has been worked for growing plants of various kinds. the concept goes back beyond the Judaeo-Christian traditions of the Garden of Eden and the imagery derived from it, which the Muslims transformed into a terrestrial paradise, literally a foretaste of heaven to come. For me the equation add up to a 'garden' only when an extra element is added; some kind of choice and control of the layout, decided for aesthtic reasons" (Hobhouse P, 2002 The Story of Gardens P 9)

Nathji celebrating with Gopis, 1820 (opaque watercolor on paper) 34 x25.4cm.

The joyous scene celebrates the arrival of spring and cooler weather. The lush surrounding trees are filled with parrots and peacocks, are complimented by the brightly decorated palace doors and windows. The scrolling wave-like clouds are dark with the promise of rain (Sotheby's important Indian miniatures from the P Walter collection; p37).

Moghal gardens of India - they created gardens encapsulating the idea of paradise. Especially Babur, The Emperor -Gardener. His credentials as an oriental conqueror could hardly be improved upon. His main emphasis in his well documented diaries and manuscripts were on the fauna and flora of India, "which he notes with the care of a born naturalist and describes with the eye of a painter" (Gascoigne B, 2002 The great Moghuls, 27). Hobhouse states (2002;84) that Moghul gardens were geometric, with a central water channel crossed at right angles with smaller channels, each containing flowerbeds, the best example being the incomparable Taj below .

The Taj Mahal. Image (Hobhouse P. 2002, The Story of Gardening, Dorling Kindersle Ltd London).

Islamic Gardens - heavenly beauty, earthly delight. Hobhouse states that the Islamic religion turned the purely physical, earthbound into the celestial paradise that awaits the righteous after death - a paradise that, reveals the Koran, ' shall be abounding in branches, therein fountains of running water, and every fruit there shall be two kinds. The believers shall find themselves reclining on couches lined with brocade, the fruits of the garden nigh to gather, and will find therein maidens restraining their glances....lovely as rubies, beautiful as coral... green, as green pastures, therein fountains of running water, fruits and palm trees, and pomegranates..."

Yin and Yang. Image (Hobhouse P. 2002, The Story of Gardening, Dorling Kindersle Ltd London)

'These rocks in the Lui Yuan, a 16 century Suzhou garden, represent mountains, the embodiment of the hard masculine quality of Yang. To be complete, a Chinese garden must also include water, representing the complementary but opposite female quality of Yin' (Hobhouse Penelope 2002:325).

The garden being a microcosm of the universe - Firstly meaning a little world; especially: the human race of human nature seen as an epitome of the world or the universe. Secondly - a community or other unity that is the epitome of a larger unity.

Penelope Hobhouse states in the Chinese Garden, nature and humankind are partners in a space that is designed to 'stand in' for the totality of the universe. Plants are accessories, yet they are charged with literary, artistic and philosophical meanings. They are a source of emotional and intellectual stimulation.

Walk in the Garden, Gustave Dore (plate 90) .

The forbidden fruit is linked to the Judaic, Christian and Islamic understanding of the garden of Eden - Paradise lost. Here are some notable reference material I have investigated.

"Paradise lost, or Fall, symbolises the descent from unity into duality and multiplicity in manifestation; the movement away from the centre of perfection and dispersal and disintegration in the world of multiplicity. Paradise regained is the return to unity, to the spiritual centre, mand conquest of himself and regaining pristine innocence" Cooper JC 2005: Paradise).

Paradise Lost is an Epic poem by John Milton (1667) concerning mankind's disobedience and consequent expulsion from Paradise through Satan's Agency. It has become the blind poet's best-known work through its panoramic vistas and master of language.

Here is an extract from book one.

Of Man's first disobedience, and the fruit

Of that forbidden tree whose mortal taste

Brought death into the world, and all woe,

With loss of Eden, till one greater Man

Restores us, and regain the blissful seat

Sing, Heavenly Muse, that, on the secret top

Of Oreb, or of Sinai, didst inspire

That shepherd who first taught the chosen seed