The value of constructive criticism and ceramic role-models; featuring the work of Ann Van Hoey and Ian Garrett.

Ceramic vessel, Ann Van Hoey.
Origami Etude Geometrigue Ceramics.
All photographs cited on the internet.

Ann Van Hoey Vessel
Belguim Ceramist

My previous blog post highlighted two ceramic expositions that opened in Johannesburg two weeks ago. By now these two exhibitions have come and gone. One a regional ceramic competition and the other an exhibition of some of South Africa’s ceramic stars – a number of whom are rising stars. My first intention was to promote the work on display, having taken very complimentary images of the porcelain vessels on show, even if I have to say so myself. 

Ann van Hoey vessels

On writing the text on the individual works photographed, I soon discovered that my feelings for some of the work were not that complimentary. I quickly realised that I was wearing my critic’s hat. Having taught ceramics for most of my life and for seeing the potential in the work, I could not resist giving constructive criticism.  At the time of writing the crit I thought of giving advice as I would give to one of my own students at the Ceramic Department where I taught during the eighties and nineties.  I was and even to this today I am always blatantly honest, addressing those concerns, glaring issues that stare me in the face. Those issues which one would refer to as a blemish, oversight and or weakness in the design. Only then will I turn my attention to the amazing qualities inherent in the design and how great it was and or how amazing the end product was going to be. Only if and a big if it was, the student saw the need to address the glaring mistake, oversight or weakness in the design.

I get rather impatient when designing my own work – a mistake or issue compelling me to address and or rework the design with passion, vigour and relentless drive. Considering all options in an effort to see, reveal and or capture the finished refined end product. Never satisfied until the desired end result is finally captured in a rendering and or manufactured to perfection.

Exquisite forms, shapes and appropriate surface development
technique including construction method.

My intension is never to be destructive in my criticism, but always to motivate students to reach their full creative potential. Being a passionate Scorpio one always comes across arrogant and tactless in ones approach. Encouraging students never to cut shortcuts, quite the contrary, students are encouraged to work on a design until it is perfect – often at all costs. Cutting into the allotted manufacturing time allocated for the entire project to ensure the design is perfect on paper before going to manufacture. In retrospect there is always room for improvement and redress, this is my motto for creative success.

Ian Garrett
South African Ceramist.

Group on pots.
Ian Garrett.

My colleague John and I often have debates about our work, feeding off each other’s suggestions and criticism. That’s what you would expect from a fellow ceramist and or friend. Honesty and constructive criticism was and is always at the centre of our debates - each motivating the other to improve our work in a country where we are rather isolated from the rest of the ceramic fraternity. As we strive to expand our creative horizons we need all the assistance and creative help we can get – if we acknowledge there is always room for improvement. With ceramic departments closing down and informed advice not always that forthcoming, one would expect every bit of input in whatever form and from any source would be appreciated. It would seem this is not always the case. More than often we live in a creative bubble where mediocrity and praise is bestowed at will to support the Status Quo. ‘Fortress Ceramica’ continues to provide high walls around fragile glass structures where potters continue to bask in their supportive creative malaise.

Ian Garrett's finely crafted surface technique.

Therein lies the concern, the last thing we need in our isolated and dwindling ceramic community, especially amongst working groups at studios and collaborative projects and group exhibitions is to be dishonest in our view of each other's work.  As we strive towards perfection, from good to great, we need every bit of help and dare I say blatantly honest criticism to assist us on our creative path towards ceramic greatness/stardom. Unless we want to remain a buddy hugging and pretty promoting social group of hobbyist ceramists on ‘a road less travelled’ in neverland.

Fine forms, shapes, appropriate surface development technique
and construction method of Ian Garrett.

I doubt this is the case, as we all strive to constantly improve our skills and refine our ceramic expertise (to grow). With great maturity we take all criticism for what it is worth, apply what is necessary, realising one is only as good as the last creative output, and that there is always room for improvement and another opportunity to showcase one's work. We also realise that to grow we need to expand our knowledge and insight into our field of expertise. We also acknowledge our pride – that there were moments in our creative development that seemed impossible to peak. It all seems ridiculous now in the wake of our recent creative achievements. Believe me when I say that often such moments of creative doubt brought about by what seems to be negative criticism is just what is needed to urge one on to even greater heights. One must rise to the challenge, retreat to one’s studio, reflect on what was said, apply what is relevant and makes creative sense, and in solitude plough the felt negative energy back into one’s creative work.

Ann Van Hoey Belgium Ceramic Artist 

We need to set our sights higher, be inspired by relevant national and international ceramic role models, such as the work of our very own Ian Garrett (image below) and international rising star Ann Van Hoey (Belgium - image above), both master craftspeople at the pinnacle of the creative endeavours. I trust you will find the work of both these ceramists inspiring and suitable role models. Their handcrafted forms, shapes and appropriate surface development techniques, including construction methods are the epitome of fine craftsmanship - realised from concept to creative end-product.  Perfect ceramic role-models. All photographs taken from the internet.

Ian Garrett
Master South African Potter.

Ann Van Hoey in four dimensions

Ann van Hoey; Ceramic Bowl (photograph Eugene Hon)

Living at the tip of the African continent has it's advantages, especially when your country was the flavour of the month; hosts of the successful soccer football world-cup. We have arguably one of the best climates in the world (sunny-blue skies), lots of space, the game farms (big five) and the famous Table mountain. But if there is one thing that is a huge disadvantage, it's our isolation from the international art, craft and  design community. Exposure is not necessarily a problem for us (thanks to the Internet), but seeing it in the flesh, is out of reach for most South Africans. Our galleries and museums don't have the resources to purchase contemporary art and crafts. Ceramics in particular has a problem, this is due to it's tactile qualities and the nature of the surface quality; that can never be fully appreciated, unless it is tangible. Only when you handle the work up close, do you get to see it's true value; the master craftsmanship. This is demonstrated in a number of ways, in the construction skills, the form, shape and more importantly the development of the surface; that I refer to here as the fourth dimension.

Ann van Hoey; Ceramic Bowl (photograph Eugene Hon)

A case in point was when Ann van Hoey visited South Africa during the football world cup. She did a workshop for the local ceramic's community; especially the members of Ceramics SA. She happened to bring a few of her works to the workshop, for members to appreciate in the flesh - experience up close. Scale is always an issue when artifacts can only be viewed through the media. Believe me when I say, that to handle one of Van Hoey's bowls and teacups in the flesh is just incredible. To own one  is even more valuable. I have a very particular taste and I am proud to say that her work, images posted here, rates as one of my most prized possessions.  For an appraisal of her work, written by the author of this blog, follow the link provided here - Ann Van Hoey’s ceramic bowls are imbued with the quintessential of life itself. Or the label below.

Ann van Hoey. Ceramic Bowl. Collection Eugene Hon
Photograph Eugene.

Ann van Hoey; Ceramic Bowl (photograph Eugene Hon)

Ann Van Hoey. Ceramic Bowl.
Collection and Photograph - Eugene Hon.

Ann Van Hoey's bowls are imbued with the quintessential of life itself.

Ann Van Hoey’s ceramic bowls are imbued with the quintessential of life itself.

Ceramics made with engineering and mathematical precision has found favour at the highest level. These clinically constructed, monochromatic ceramic statements take one’s breath away; both the enlightened consumer and more deservingly so, those well versed in ceramic traditions, are infatuated with these masterly crafted ceramic bowls. 

Not since Bodil Manz’s vessels (1943 Denmark - image courtesy Pulzceramics) took centre stage, has one stood in awe of work quite so inspiring – sophistication in simplicity. There is no surface decoration, nothing closely resembling any form of utilitarian function – cited by the artist herself as ‘purity of form’. The ceramic statements are unglazed, their surfaces are stripped bare; even more ‘naked’ than burnished pit-fired and or saggar fired pots, as well as the impermeable terra sigilata surface of Greek Vases. Made from clay and the form reminiscent of a ‘drop shape’ imbues the work with the quintessential of life itself.

Etude Géométrique; a variety of forms and shapes. average height H17x30x30cm earthenware clay

Edging in the rim and overlapping the walls of the bowls in exaggerated fashion, reminiscent of cutting and shaping paper, leather and material (the clay is actually cut with a pair of scissors), is what captures your imagination, when adoring these cutting edge ceramic bowls. The final ceramic statements are engineered with craft perfection, reminiscent of the Japanese paper craft ‘origami’. 

Made in white and red earthenware with the same kind of precision invested by the masters of their craft in producing Yixing teapots, Ann van Hoey has found her creative individual potential (centre). Embracing the ‘sterility' of in-fashion tableware, handcrafted by the craftsperson herself, the work permeates, heart, spirit and soul; unlike its industrially manufactured counterparts (white-ware). Mathematically conceptualized and clinically realized clay statements are not only what they are about – in essence, each one is a very simple, yet masterly crafted ceramic bowl. The work contrasts sharply with her almost Baroque inspired whimsical cups, the “Rozet” porcelain series; showcasing her creative confidence in diversity. The gestalt of her ceramic bowls has reached iconic status (an archetypal ceramic statement); a contemporary tribute to an ageless and classical tradition of hand crafted ceramic bowls, truly a benchmark for the 21^st century.

Websites, videos and links - Ann Van Hoey.

• Pulsceramics gallery
• Ceramist's Website.
• Video - construction and interview.

Latest work. White earthenware clay (Image courtesy of the Artist's Website).

• Quiet Design; sustainability & humility. Novelty is over. too much choice is confusing. Quiet design and humble classics are the answers.  One of the dominant influences, trends for the future, in keeping with the work of Van Hoey. For the complete list follow the link below ...five dominant influences. 

Living beautifully with hand crafted objects ......continued. Cited in Elle Decoration (UK edition) no 210 February 2010 - highlights 2010 Trends. The article is titled, This is tomorrow. A new year; a new start...but what does the future hold? Although tomorrow is never ours to know; the five dominant influences that will shape our homes, lives and the world of design can be predicted....What matters is what lasts (Michelle Ogundehin, February 2010, Elle Decoration 55. ). 

Ann Van Hoey - Recent Awards.

• First prize at the international biennal "At the moment..." Kapfenberg, Austria.
• Bronze Medal at "The 5th World Ceramic Biennale 2009 Korea".
• Bronze Medal at the international biennal "Ceramica Multiplex" Varazdin Croatia.
• Finalist for the "WCC-Europe Award for Contemporary Crafts 2009".
• Selection for "World Best Design Exchange", Incheon, South-Korea.
• Selection for the "Concours International 2009 Tasse et sous-tasse", Carouge, Switserland.
• Selection for the "6th Cheongju International Craft Competition 2009", South-Korea.
• Selection for the "IX Biennal International De Ceramica De Manises", Spain