PRESENTED BY DEON DE LANGE
Learn the specialised skills of a Professional Mouldmaker Give a new dimension to your work by using moulds. Acclaimed ceramist Deon de Lange now offers you workshops in mouldmaking. de Lange owned and managed a very successful commercial ceramics factory, supplying the high end interior market both locally and abroad. His award winning designs were manufactured by means of slipcasting, jiggering and hydraulic
pressing, all using moulds to achieve the final product.
YOU WILL LEARN
Both modern and traditional techniques will be taught, using materials developed for industrial design.
The workshops start off with modeling techniques, then take you to making the original mould, mastermoulds and working moulds. After completing these workshops, you will be able to produce high quality pieces for a discerning market.
Book your space now on the next available workshop.
Modelling Mouldmaking Mastermoulds Working moulds Useful techniques
Deon de Lange 0828553595 firstname.lastname@example.org www.deondelange.com
Cover Artist: Deon de Lange Multiple Fired Ceramic
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Profile: Alan Samons
Remembering Artists Past
South Africa on Show
CONTENTS 14 30
Decoration as Object
The Best of Ceramic Websites
Design Indaba 2010
Become a Superstar
FROM THE EDITOR
THEEXHIBITIONISSUE Can you believe it, this is our fourth issue already, which brings us to the close of our first year. For everybody it has been a tough one with the worldwide economic recession, but ceramics is a medium that allows us to destress.
2010 will also bring in a few changes for us: due to popular demand other Applied Arts would also be included in the magazine. Also watch out for the INTOCERAMICS academy, exciting workshops coming to a studio near you.
This iis not only the silly season, but also the exhibition period. Ceramics Southern Africa had their regional exhibitions in all the major centers, and with many smaller group exhibitions and solo shows, it was a feast of ceramics.
For everybody in South Africa the time has come to lock our studios and head down to the holiday destinations. We wish you and yours well over the festive season, enjoy the break and I look forward to talking to you again next year. If you are on the roads, be careful and ARRIVE ALIVE.
In the light of World Aids day on 1 December, I want to bring tribute to al the artists out there that we have lost to the pandemic. Their untimely deaths cut short a brilliant career, but the legacy lives on and your work will be admired by generations to come.
Nic Sithole Ceramics Southern Africa CDC-Gauteng Nelson Mandela Square Till 30 January 2010 083 611 3508 Christina Bryer - Handmade in Black & White Kim Sacks Gallery 153 Jan Smuts ave - Parkwood Johannesburg Till 22 January 2010 011 447 5804
Deon de Lange Oppitafel IX - Babettes Feast Artspace Gallery 157 Jan Smuts ave - Parkwood Johannesburg Till 30 January 3010 011 880 8802
Laura du Toit Light from Africa Till 30 January 2010 021 794 0291
Solve all your Ceramic Dilemmas
A practical guide by Pete Smithson
Filled with a wealth of basic technical knowledge, 250 Tips, Techniques and Trade Secrets for Potters will guide you through inspirational and informative techniques that will dramatically simplify your working practice. Including information on materials, tools and equipment, and the design process, this resource provides detailed coverage on all of the main making techniques: slabbing, pinching, throwing and mouldmaking, as well as glazes and various firing methods.
This will be an invaluable guide for all students, artists, makers and craftspeople â€” anyone in fact who exhibits or displays their own work, or the work of others. It is a practical resource incorporating everything you need to know about setting up your work for display, from preparing the space, to risk assessment and health and safety concerns, fixings, moving and placing work, etc, with separate sections for two- and threedimensional work and audiovisual displays. The book also includes information about electrics, lighting, and cable management, rigging, and basic construction, as well as tools and materials and the basic kit you will need to get started.
Handy timesaving tips are presented in easy-to-follow articles and illustrated by step-by-step photographs and diagrams, making this an invaluable reference for any beginner or intermediate potter. Jacqui Atkin is a professional studio ceramicist. She teaches pottery in various colleges and runs private courses in low-fire techniques, including smoke firing and raku. She has contributed to many books as a project maker and gallery artist and is the author of Handbuilt Pottery Techniques Revealed, Pottery Basics and The Tile ArtistĘźs Motif Bible. INTOCERAMICSSUMMER2009
BOOKSHELF Studio Pottery in Britain 1900–2005 Jeffrey Jones
Slipware in the Collection of the Potteries Museum & Art Gallery Potteries Museum
This book offers a comprehensive account of the emergence, development and achievements of British studio pottery during the 20th century. Key movements, trends and personalities are all covered. This is an important topic because Britain was the world leader in the development of studio ceramics and the ramifications of these developments have had a global impact. The book looks at how pottery established itself within the wider context of the visual arts. The book examines the range of pottery produced under the heading of ʻstudio potteryʼ and discusses the way the work embodies and communicates the values of the makers. It also investigates how studio pottery has been presented to the world through photographs, exhibitions, books and publicity material.
Slipware has been the predominant type of ceramics in Britain for the last half century and this work has influenced subsequent work in North America and Australia. This book is a survey of the slipware collection of the Potteries Museum in Stoke on Trent which is amongst the finest in the UK and perhaps the world. It consists of a short essay and 300 high quality images of the finest pieces in the collection. There is no other book on this subject in print and so this incredibly important book on such an exceptional collection will be in high demand.
Alan Samons Metal Clay
Text: Alan Samons Photographs:Alan Samons, Robert Hamblin, Deon de Lange
Metal Clay Artist The work of Alan Samons
Alan Samons studied fashion design at the Witwa‐ tersrand Technicon following which, he created his own la‐ bel, focussing mainly on bridal wear. During his fashion train‐ ing, he did a short course in silver jewellery and though en‐ joyable, it lacked the immediacy aﬀorded by other creaAve methods. Though never pursued as a career, the techniques learnt almost 20 years ago are now of great value. A keen interest in texAles led to the acquisiAon of his ﬁrst anAque Chinese wedding robe in 1994. This was to be the start of a love aﬀair that has lasted to this day and oLen a piece of Oriental pot‐ tery, texAle or painAng Opening page: will be a catalyst to form a Ghost Knightia (Ghost new idea and inspire a Series) jewel. Over the years Knightia is an extinct genus of fish from the Alan’s collecAon of Chi‐ Eocene epoch dating nese and Japanese tex‐ back 54 to 38 million Ales and Peking glass has years ago. expanded and his love of Paper porcelain, fine Asian art has not dimin‐ silver (Art Clay Silver), ished. demantoid garnet. A love of – and Partly gilded and interest in – personal patinated. adornment and jewellery Private collection r e m a i n e d a n d e v e n This page Top: though a career change in Forest Spirit (Ghost the mid 90s took him into Series) the ﬁeld of publishing and Paper porcelain, though he sAll is co‐owner bronze double leaf imprint (BRONZclay), red of a lifestyle publicaAon, cubic zirconium. Alan never stopped creat‐ Private collection ing. It was in casual con‐ versaAon with a Japanese This pageBelowt: The Woodsman friend in 2006 that he (Ghost Series) heard of silver clay. An Paper porcelain, Internet search, fuelled bronze oak leaf imprint more by idle curiosity (BRONZclay), natural than acAve interest, led to Andesine Labradorite a life‐altering discovery. In 6.45 carat. late 2006 he enrolled for a course in the craLing of jewellery using silver clay. The aTracAon was immediate and a passion born. Having taken the odd class in poTery, oil painAng, Chinese watercolour painAng and other forms of decoraAve art since his school days, Alan realised that even a ﬂeeAng knowledge of these disciplines could come in handy and are now conAnually drawn upon. Constant trial and er‐ ror and experimentaAon with new techniques in metal clay, paint formulas, glass and EgypAan paste is very much part to the evoluAon of his personal language of making. Alan’s work is unique in the oLen surprising combi‐ naAons of materials and the unusual presentaAon of what are essenAally wearable objects. His work is made all the
PROFILE more unique in that he is not afraid to experiment and is, to a great extent, self‐taught. Says Alan: “I’m not an expert in anything – I simply make things I ﬁnd beauAful, using materials I ﬁnd beauAful. Silver clay and now bronze clay are key elements, so the ul‐ Amate outcome is almost always jewellery, or wearable sculpture. I don’t try to deﬁne what I make too narrowly as ‘jewellery’ or ‘sculpture’ or even ‘art’. My main criterion is that I enjoy what I make… and that I can do it in a small space with as liTle mess as possible.” “CreaAng for my own enjoyment, and having the luxury to do so, is a real blessing for me. It has freed me up from the necessity to earn a living from what I make and I can really play a game with no rules. I’m lucky that I’ve had so much exposure to various forms of art and that I travel a lot. I put as much into my mind as I can and I’m a voracious reader. Consequently it can take a long Ame to disAl a con‐ cept, but when something happens, it usually emerges fully formed and thoroughly thought‐out.” “My method is quite simple. Most of my work – which is highly ﬁguraAve, starts with a plasAcine, This page Top: clay or wax model. I love Hermes I working with plasAcine as Brooch. Fine silver it allows me to reﬁne an metal clay. Gold platidea and it’s very forgiving ing. Patinated. stuﬀ. The silver and Private collection bronze clays are also easy to mould and carve. I use many diﬀerent techniques This page Below: and layer them, so that Hermes II the original model is oLen Art piece with removobscured and altered. able pin. Fine silver Once a piece is moulded, I metal clay, sterling silwill add details with more ver, polymer clay. clay and paste and oLen Peridot cubic zirconium, gold leaf, gold use a rotary carving tool plating, patinated. to carve the clay in its Private collection green stage. I strive for a slightly unﬁnished look. That’s partly because I’ve not yet culAvated a high level of paAence, but also because I have always liked craLs in which the hand of the maker is evident – and that is oLen seen in the imperfecAons of a piece.” CiAng his major inﬂuences, Alan credits his Art Clay Silver instructor, Julie Greensmith as playing a pivotal part in his development. “She’s been so supporAve. When I started out, I did one introductory class and then insisted on doing something way too complex and over my head, but she en‐ couraged me and it turned out great. I love jumping in at the deep end.” Another major inﬂuence is the work of BriAsh arAst goldsmith, Kevin Coates. “I’ve always liked his work, but didn’t know much about it. Then I was given a copy of his
PROFILE book Kevin Coates: A Hidden Alchemy and suddenly a whole world opened up for me and it gave me great focus. I learned more from being in contact with that one book than almost any‐ thing I’d done previously, so I’d deﬁnitely credit him for being a tremendous catalyst. It led me to read even more than I did be‐ fore, so it was a whole educaAon process. I also sleep a lot less now…” Art Clay Silver works perfectly in combinaAon with vari‐ ous media such as poTery, porcelain and glass. Being clay and not metal, it’s not surprising that poTers were the ﬁrst to ini‐ Aally adopt the medium as their own. TradiAonal jewellers mostly sAll balk at it, but those barriers are coming down and the product is being adopted by mainstream art jewellers. Art‐ ists working with metal clay are starAng to make a name for themselves internaAonally and in a small studio in South Africa, another arAst is labouring to join their ranks. Work 2007. A piece of jewellery enAtled Hippocamp was ac‐ cepted for inclusion in a Japanese compeAAon in October 2007. Entrants from across the globe parAcipated in the This page Top: creaAve use of Japanese Leaf pendant with pearls. pearl 2 0 0 8 . H e r m e s , a Natural oak leaf imframed decoraAon was exhib‐ print with fine silver ited in Japan and included in (Art Clay Silver) paste the exhibiAon catalogue. and syringe detail. Property of the artist Current Work. Alan is focussing on This page Below: making framed art jewellery Ring with denim pieces using silver and blue star sapphire bronze. His work also features Fine silver clay with syringe detail. archaeological ﬁndings, gem‐ Property of the artist stones, EgypAan paste and recycled ivory. Alan recently started experimenAng with creaAng paté de verre glass elements and these are incorpo‐ rated into some of his art pieces. Alan is currently working on a specially‐commissioned large‐size art pieces for a well‐known game lodge. His work can be found as far aﬁeld as Canada and Japan. Tel: 082 900‐3607 Email: firstname.lastname@example.org www.alansamons.com Alan Samons is an Art Clay Silver Senior Instructor and conducts workshops in Killarney.
Remembering Artists Past A Tribute to Artists we lost to HIV/Aids
Remembering Artists Past A tribute to artists we lost to HIV/Aids In the light of World Aids Day on 1 December, we need to take a moment of silence and think about the pandemic and how it affects everybody’s lives. South Africa still has one of the largest Aids related death statistics in the world, and it certainly has not spared the ceramic community. We are saddened by the untimely deaths of so many talented artists, and with this article we would like to pay tribute to them.
ABOVE: Jug with Angels Made by Beauty Ntshalintshali Painted by Bonnie Ntshalintshali Ceramic BELOW: Portrait of Bonnie Ntshalintshali Painted by Siyabonga Mabaso Ceramic plate
When Fee Halsted-Berning started her ceramic studio on Ardmore Farm near Winterton in 1985, Bonnie Ntshalintshali (1967-1999) was her first colleaguet. In the beginning Bonnie made simple clay objects and used ordinary Plaka paints and varnish for decoration. The Lobola and Sunbird Sculpture below date from this period. Later, while working on commissions and larger artworks, Bonnie also made small pieces such as the Two Hanging Birds and Necklace to sell. Bonnie soon showed exceptional creativity. She occasionally moved on to use underglaze paints (decanted in plastic trays) and her pieces were properly glazed. Bonnie Ntshalintshali was brought up as a Catholic and her work was influenced by a surprising combination of myth, cultural history and biblical imagery. This soon attracted the attention of art lovers. Fee was Bonnie’s mentor and also an exceptional artist in her own right. Together, Fee and Bonnie won the Standard Bank Young Artist award in 1990. In 1994 Bonnie was invited to participate in the Venice Biennale. Many accolades and awards followed, and the works of Bonnie and other artists from Ardmore Ceramic Studio became well-known internationally. Other artists soon joined Bonnie in the studio. She often decorated works made by Beauty Ntshalintshali, Nhlanhla Nsundwane, Elizabeth Ngubeni, Beatrice Nyembe and Matthew Stitzlein. Bonnie’s death of an AIDS-related illness in 1999 was a big blow for everyone at Ardmore Ceramic Studio. Her life and work became legendary and this eventually contributed to an awareness of the AIDS pandemic in South Africa and in the world. For the artists of Ardmore it was no longer possible to see relations between the sexes only as a romanticized love story. People had to face reality and take measures
to combat HIV/AIDS, but many still resisted advice and ignored reminders about the dangers of the disease. It was easier for an artist such as Wonderboy Nxumalo, who was a painter and poet, to reach his audience by using primate images in stead of human beings. Gradually he introduced monkeys with spots that symbolized illness. In September 2008 the community was shocked by the death of Wonderboy Nxumalo, who had fought against prejudice and complacency in the face of the HIV/AIDS pandemic. His works became a legacy filled with advice and references to the dangers involved. On one of the plates death is symbolized by monkey skulls. Primates became useful metaphors in the battle against disease. In his baboon vessel the females take the lead in repelling the males as an example of abstinence. Using humour and irony, the artists here give advice to males. Wonderboy Nxumalo’s detailed decorations with patterns, monkeys, messages and poems were applied to domestic articles such as coffee cups and saucers. They refer to the struggle against HIV/AIDS and hopeful prayers for a cure. Monkey skulls have made way for human skulls. Andrew Sokhela painted cartoon strips and township images on plates to spread his messages in support of the battle against HIV/AIDS. The community at Ardmore did not like Andrew Sokhela’s cartoon-strip warnings against AIDS. His images and words were called “un-African” and “undiplomatic”.
ABOVE: People must Understand about this Disease Made by Elias Lulanga Painted by Wonderboy Nxumalo Ceramic plate BELOW: Monkey Candle Sticks Made by Sfiso Mvelase Painted by Punch Shabalala Ceramic
Medicine, good food and AIDS education were available to the artists of Ardmore Ceramic Studio, but skilled artists were still dying. Some sought the help of traditional healers, while others went secretly to witch-doctors to look for a scapegoat. At the same time everyone in the studio seemed to go through a state of denial. In Zulu culture it was considered very bad form to speak ill of the dead, or to say that someone died of a dreadful disease. The colourful costumes of the actors seem to suggest a thin line between comedy and tragedy. Ardmore Ceramic Studio is taking a stand against HIV/AIDS through the educational work of the artINTOCERAMICSSUMMER2009
ABOVE LEFT: The Brutal Killer (Detail) Made by Elias Lulanga Painted by Andrew Sokhela Ceramic BELOW LEFT: Praying to God with a Smile (Detail) Painted by Wonderboy Nxumalo Ceramic plate
ABOVE RIGHT: Sangoma : Some people think There is a traditional cure for AIDS (Detail) Made by Elias Lulanga Painted by Andrew Sokhela Ceramic plate BELOW RIGHT: AIDS is not just a Disease (Detail) Made by Elias Lulanga Painted by Wonderboy Nxumalo Ceramic plate
ists, who have personal experience of the tragedy. This body of work is urging those in leadership positions to make wise decisions and to act upon them. The work pictured on these pages can be viewed at the Bonnie Ntshalintshali Museum at the Ardmore Caversham studio, where ongoing training about Aids is being done. Enquiries 033 234 4869
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SOUTH AFRICA ON SHOW
EXHIBITION FUNCTIONAL COLLECTABLE
South Africa on show CSA Regional Exhibitions Ceramics Southern Africa recently had regional exhibitions in the three major centres, and once again the artists excelled themselves with their entries. Here is a report from the different regions.
Wilma Cruise, as award judge gave awards to the following:
In her address spoke of the standard of South African ceramics and of the need to place more attention on form, which she felt was being forsaken in the quest for surface development.
A great variety of work was submitted ranging from the really exceptional to that which required more attention before it could be considered for exhibit. In almost all instances there was complete agreement between selectors on the decisions taken as Jenny Bentel well as the strengths and weaknesses of p i e c e s d i scussed. The work, in general was of a high standard and many opinions concurred at the opening that this was an exhibition of outstanding quality. Which leads me to ponder the purpose of selection. To my mind it is not only to decide what work should be shown but also to give feed back to those submitting work on areas of strength and also less successful areas of the work. First and foremost I feel it should be seen as an exercise of building and encouragement and non-acceptance of work should be accompanied with feedback which could lead the maker on to better things. INTOCERAMICSSUMMER2009
Premier Award: Ndbele Award: PSMO Award: Claypot Award: Van Tuyl kilns Award: New Signatures:
Dale Lambert Hazel Sherman Karen Murray Eugene Hon Watson Nyambeni Alheit Stroh Corne Joubert
Work that shone above the others for me was Dale Lambert’s trio of black bowls with blue rims, a study in simplicity of form at its best. Hazel Sherman’s incredibly delicate porcelain ‘books’ and Alheit Stroh’s wonderfully realised vessels, reminiscent of metal yet at the same time wholly ceramic. Congratulations to everyone who played a role in this exhibition, all the participants and also Marentia Kooiman and her team for this extremely successful event.(John Shirley) Western Cape
EXHIBITION medium, spanning figurative, decorative, sculptural and functional. These diverse styles form a cohesive unit that has been extremely positively received by both critics and the public.
I have just finished setting up the CSA regional exhibition at Rust-enVrede in Durbanville and want to congratulate CSA Western Cape and the gallery for putting together a splendid show. Personally I believe this show to be more exciting than last year. Sadly without most of the potters that make the Western Cape ceramic community the most prolific and vibrant in the country. Perhaps this exhibition could be the start of some discussion as to the state of our ceramics and the role of exhibitions such as this one. If you
are in Cape Town, please make an effort to see this e xhibition before it ends on 12 December. The gallery and clay museum is a great place to visit. Peter Visser said some years ago when he visited Rust-enVrede for the first time: "Cape Town's best kept secret."
The exhibition covers the whole spectrum of making and firing methods in the ceramic INTOCERAMICSSUMMER2009
Premier Award: Cape Gallery Award: De Kraal Gallery Award: blom Rose Korber Award: The Potter's Shop Award: Walters Sterling Award for New Signatures: Jenny Bentel Merit Certificates: Jennifer de Charmoy Kendal Warren
Rae Goosen Hannes van Zyl L o u i s e G e l d e rHennie Meyer S a r a h
Thank you to Ralph Johnson, his committee and Monica with the gallery staff for the tremendous effort you put into keeping our passion for ceramics alive.(Hennie Meyer) Kwazulu Natal Our Regional exhibition balanced experimentation, tradition and refinement. We invited all members to submit work and guaranteed that at least one piece would be accepted. By joining the successful and the untested, it allowed our viewers to see the current tenden- Martha Zettler cies and traditional trends in ceramics. Some of the well known ceramic artists in KZN supported the exhibition by accepting the invitation to be invited guests. Ann Marais, Lindsay Scott, Andrew Walford, Ann Schultz and Cathy Brennon participated, and
EXHIBITION Alheit Stroh their work contributed a great deal to the success of the show. Thanks to you all! We are going to debate the ideas of â€˜awarding prizesâ€™ since this often causes conflict, but will continue inviting wellknown and appreciated guest ceramicists as we owe it to them to showcase their work free of charge. Our Awards Judge Ann Marais gave an informative speech explaining the reasons for the awards she gave: Premium Award: 2nd Prize: 3rd Prize: Merit Awards:
Martha Zettler: Carol Hayward Fell Lynette Morris-Hale Maggie Matthews: Fahmeeda Omar: Naomi Klingenberg: Khulamelemi Qalanagani & Mag-
waza (Lynette Morris-Hale)
Hannes van Zyl INTOCERAMICSSUMMER2009
Clay - Tools - Tiles Garden Pots - Dinnerware 1 Annet Road, Cottesloe Johannesburg 011 482 2215/7 www.liebermannpottery.net email@example.com
Babetteâ€™ s Feast
Artspace has mounted its annual showcase, Oppitafel for the past eight years. Using “the table” as a point of departure this show has been an exciting group exhibition every year accommodating two and three dimensional works from a host of well known South African artists. This year’s Oppitafel showcase takes “Babette’s Feast” as a point of departure. Artists have been invited to curate tables of works by artists and designers as well as two and three dimensional works with over 50 artists participating in this show.
Babette's Feast is a story about pietism and the sensuality of food. Behind the deceptively simple story is a sort of parable or fable of religion and life. The curators for the tables at Artspace’s Rosebank Gallery are Debbie Cloete, Deon de Lange, Gordon Froud, Ann-Marie Tully, Chenette Swanepoel and Alastair Findlay.
Art works, objets d’art and utilitarian art will be featured and the show opens on 5 December at 11h00 - please join us for a drink.
This exhibition features contemporary South African artists Table 1 Urban Excess Deon de Lange, Liz Loubser, Ronel de Jager, Edzard du Plessis, Table 2 Excess Gordon Froud, Nick Hauser, Norman Catherine, Yda Walt, Debbie Cloete, Bevan Thornton, Sybrand Wiechers, Ta b l e 3 a n d 4 C h e n e t t e Swanepoel and Alistair Findlay, Heidi-Kate Greef, Lize Fourie, David Ceruti, Molten for Smelt Glass, Elske Nel Table 5 Pink/Kitsch Debbie Deon de Lange INTOCERAMICSSUMMER2009 32
COLLECTABLE Cloete, Sybrand Wiechers, Gordon Froud, Angela Banks, Lientjie Wessels, Table 6 Deconstructing Delft Ann-Marie Tully, Suzanne du Preez, Loren Kaplan, Mike Hyam, Flip Hattingh, Jennifer Kopping, Jacqueline Middleton and Melanie Cameron. Nick Hauser
Babette's Feast was first written in English as a short story. It was originally published in 1953 in the Ladies Home Journal. It was translated into Danish for radio performances and subsequently translated by the author Karen Blixen (Isak Dinesen) into Danish as part of a collection of five short stories entitled Anecdotes of Destiny which appeared in 1958. In 1987 Gabriel Axel directed the film adaptation of the story which starred Stephanie Audran, Jean Phillipe Lafont and Gudmar Wivesson. In conjunction with Out of Africa (1985), directed by Sydney Pollack, and The Immortal Story (1968), directed by Orson Welles, these films achieved the widespread fame denied this outstandingly gifted literary artist in her lifetime.
The story is a
COLLECTABLE simple one: In a village on the remote Jutland peninsula in late nineteenthcentury Denmark, two maiden sisters, Martine and Philippa, preside over a small Lutheran pious sect that their father had founded as a young man. Although the minister has long been dead, a dwindling number of disciples continue to meet at his house to read and interpret the Word. Martine and Philippa now Yda Walt want to celebrate what would have been their long-deceased father's hundredth birthday at a simple supper for his remaining disciples. However, their servant, Babette Hersant, a refugee from the French Civil War, asks to prepare a real French dinner for the celebration, and to pay for it herself from the ten thousand francs she has recently won in a lottery. The sisters reluctantly agree, and Babette prepares a feast that brings about a transformation in the chef and feasters alike. Although the other celebrants do their best to reject the earthly pleasures of the food and drink, Babette's extraordinary gifts as a Chef de Cuisine and a true conHeidi-Kate Greef noisseur, so characteristically French, breaks down their distrust and superstitions, elevating them not only physically but spiritually. Old wrongs are forgotten, ancient loves are rekindled, and a mystical redemption of the human spirit settles over the table â€” thanks to the general elation nurtured by the consumption of so many fine culinary delicacies and spirits. The eucharistic, albeit mundane celebration around the table shadows the "infinite graceâ€Ś [that] had been allotted to them, and they did not even wonder at the fact, for it had been but the fulfillment of an ever-present hope." Artspace: 157 Jan Smuts Avneue Parkwood 011 8808802 Artspace@wol.co.za www.artspace-jhb.co.za INTOCERAMICSSUMMER2009
Deon de Lange 34
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Decorat ion as Object
Designer Wiebke Meurer makes has a background in metals, yet she looks at decoration and the relationship between surface and form. Translating Porcelain objects into their decorative parts. with silver and vice versa. In Meurer’s design, ornamentation is an autonomous form that grows over a porcelain surface and displays different stages of development. Sometimes the ornamentation literally grows to form independent features. It seems to ‘repair’ cracks, of its own accord, unite hitherto separate elements, and even deform the object on which it grows. In this way the porcelain is ultimately reduced to a decorative element. Nowadays working with porcelain in this way is exceptional. Meurer utilizes a quite stylistic concept that borders on kitsch. Strictly speaking, this baroque approach is not new; porcelain’s rich history, especially during the eighteenth century, offers similar ornamental visions. Nonetheless, the nomination committee appreciates Meurer’s design attitude, because it goes against the established - mostly unwritten - rules that stem primarily from production methods and fixed ideas on ‘public expectations’ with regard to porcelain. This attitude towards design has resulted in a refreshing form of refinement. Meurer was born in Rheydt, Germany and nowlives and works in Genolier, Switzerland. She studied at the Sandberg Instituut, Amsterdam, Netherlands. INTOCERAMICSSUMMER2009
Book NOW for 2010 Courses email@example.com 0828553595 Comprehensive Mould Making
Eugene Hon Talks about his Favourites On my blog I recently did and entry because they often represent ceramic my choice of the best of Ceramic artists and their work and are imporWebsites, showcasing a wide spec- tant from a ceramic career perspectrum of Ceramists, most of whose tive, especially if you wish to break work I appreciate and deem to be cut- into the international market. ting edge at this very important and I trust this will not only be beneficial critical juncture in the history of one of from a website point of view, but also the oldest craft forms. The list in- shed light on the best of contempocludes expressive ceramics, ceramic rary Ceramic work. Work that chaldesign and those who focus on the lenges and ask questions about the craft of ceramics, one-of-a-kind ce- value ceramics in the wider context of ramic statements. I also included Gal- material culture. leries and Museums, Centres of ExThe past two months I have been incellence and Ceramic Organisations, vestigating websites to determine the INTOCERAMICSSUMMER2009
parameters for designing a suitable website For the purpose of this article I have only infor myself. Being a ceramic sculptor, academic cluded the ceramist’s websites, due to publishand aspiring designer I had to make sure it ing constraints. 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 one expects a website should be. Even though I am an academic and have designed a number of products, the main purpose of the website will 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. INTOCERAMICSSUMMER2009
Marek Cecula's Website. Maverick- a Ceramist; a cut above the rest. Marek Cecula – the Michelangelo of Ceramics. His website embraces the entire spectrum of ceramics - Ceramic Artist, Designer and Educator. Designers, Designer Makers and Studio Ceramists. Contemporary Designers are making one-ofa-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 41
Fragiles website) have led the way, dense, translucent porcelain, artisanal leaving a dramatic impact on the ce- glazes, and fine ‘from scratch’ deramic sector, the impact of which is signs". felt globally; both from an aesthetic Julian Stair's Website. point of view and in terms of market Julian Stair for its simplicity – comshare (the craft and studio ceramic prehensiveness and clarity in terms of sector). Here follows a number of artist intent. Flash gives this site its websites showcasing the best of deadded value when the mouse hovers velopments in this highly competitive over the thumbnail images they enfield of ceramics. I have also included large. The site also does justice to his studio Ceramists in this particular cework, in terms of style, design and ramic sector. The new Book Breaking layout. The choice of categories / the Mould - new Approaches to Cemenus works extremely well – esperamics, documents a comprehensive cially the section on current, archival list of the represented artists websites projects. in the back of the book. Maxim Velcovsky's Website. KleinReid James Klein and David Maxim Velcovsky a contemporary Reid consider themselves Designer Czech Industrial designer of note, makers, their products a fusion of also famous for his contribution to cegreat design and fine craftsmanship. ramics, his products manifest a quirky In their own words, borrowed from manipulation of consumerism - a their website, “Their influential atelier creative force conceptualised and reis renowned for its elegant forms, alised behind the “iron curtain”. His
work makes mockery of the barriers Richard Slee A very simple site, that exist between high art, design probably all one needs. Quirky like his and craft, and is a fine example of ce- work, this site provides the bare esramic ornament challenging the notion sentials, and works extremely well. of function and non function.
The site is beautifully designed,
Ceramic Artists (Expressive Ceram- mainly deep edged images of the work, very crisp, set against a light ists) Here is my choice of Ceramic Artists, grey metallic background. It offsets Ceramic Sculptors and ceramists the brightly colour glazed ceramic working in the expressive function of pieces marvellously. By clicking on his the medium (exclusively in clay). This name (in black) his resume and galis largest selection due to the fact that leries are displayed. I consider my work to fall within this Friderike Zeit very stunning website category of ceramists. What follows design and layout - it compliments the is a selection of websites showcas- work very well. ing the diverse range of design Claudi Casanovas. styles and approaches to the crea- Chorafas Theodora. tive tools available and choice of Although under construction - the incolours including the use of im- formation provided about the artists ages and categories for archiving work, history links with industry, etc is very comprehensive and informative relevant material. from every conceivable clients perRichard Slee's Website.
spective. Ting-Ju Shao.
Barnaby Barford's Website.
Ken Eastman Ceramics. Arguably the most
effective ceramics site.
This is a highly professional ceramic website, showcasing the extent of the artist’s creative
RytkÖlÄ, Johanna. The site uses a more
endeavours. The site is highly sophisticated
complex approach to showcase her work, but
and it is a product that reflects the extent of
remains simple and effective.
the tools and services available to you should
Sasha Wardell. Very stylish and simple site -
you have access to resources to utilize the
the listing of exhibitions is both informative
technology to maximum impact.
and insightful. Anne-Katrine BÜlow. Website with a black
Susan King"s Website.
background adds a dramatic feel and is suit-
able to the work at hand.
One of the cleanest, simplest of sites, very
Tanya Gomez. This websites shares the art-
effective and showcasing the work to best ef-
ist’s link to nature, it is well illustrated and
fect. Very understated, yet sophisticated with
documented (text requires editing) and will be
phenomenal images of her work. This one of
of interest to those ceramists whose artists
my favourite sites.
statement and products (including surfaces) have strong visual references and representa-
Ceramic Crafts People (Expressive Ceram-
tion – the inspirational images are used crea-
ics - Crafts).
tively on the website.
Here is a selection of Ceramic Crafts People
For direct links to the websites and additional
whose work and websites are at the cutting
information visit my blog at the following ad-
edge of their field. Without a doubt Ken East-
man'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 ceramic works are photo-documented as close to the real thing as possible. The categories created for archival material on the website and the layering is very simple and effective. Ken Eastman's Website.
As South Africa gears up to show the world its best foot, Design Indaba is proud to be the first major event in our historic 2010 year. The Design Indaba Conference will run from 24 to 26 February 2010 and the Design Indaba Expo will run from 26 to 28 February 2010 at the Cape Town International Convention Centre. Annually celebrating the best creative minds from across the world, the conference organisers have worked even harder to represent a truly global scope in 2010. Speakers hail from Lima, New York and Milan through to Shanghai – a true celebration of the creativity of the world! Look out for the full speaker list announcement to come. Attracting more than 40 speakers and 2 500 delegates to Cape Town, the Design Indaba Conference has grown to become one of the largest multi-disciplinary design conferences in the world since 1995. Sold-out for the past five years running, timely booking is advised. Early Bird bookings for the Design Indaba Conference open on 5 November 2009. Having attracted almost 30 000 visitors in 2009, the 2010 Design Indaba Expo is home to a winning national creative team. Curated by a panel of industry experts, Design Indaba Expo is the only 100% South African celebration of our country’s best creative talent across all the creative industries. Design Indaba Expo organisers report that stands have been selling at double the rate of previous years, from craft, product, industrial and fashion to film, animation, graphic, jewellery and architectural design. The dedicated fashion ramp will again offer exclusive exposure to fashion exhibitors, while submissions for the film festival have already been opened to filmmakers. Stands for
emerging creatives have also been opened for applications. The new designindaba.com is also due to launch as a portal featuring the latest news and innovations from leading international and local designers. As an early sign-up promotion, subscriptions to the Design Indaba magazine are being bundled with free online membership. Membership offers access to the growing archive of past speaker videos, full magazine content, invites to special workshops and seminars throughout the year, and immediate access to the latest features as the site continues to grow. Tord Boontje at Design Indaba Working on the cusp of design and craft, Tord Boontje’s work draws from a belief that modernism does not mean minimalism, that contemporary does not forsake tradition, and that technology does not abandon people and senses. Collaborating with artisans from Colombia, Guatemala, Brazil and Senegal, for brands such as Artecnica and Moroso, a sensual world of design emerges. “I am very disappointed by the global blandness that surrounds us and try to find ways out. Today I can draw something on my computer, send a file directly to a production machine and have an object made. The modernist rationale of unadorned production starts to break down, when new possibilities arrive every day. I think this is a very exciting time to be involved in manufacturing,” explains Boontje. From exclusive luxury products to affordable industrial production and handmade objects from developing countries, this Dutch-born product designer has become renowned for his exquisite glassware, lighting and furniture. Recently appointed professor and head of the Design Products department at the Royal College of Arts, Boontje is poised to awaken the senses of a whole new generation of product designers.
Entry by Deon de Lange41
Show us what makes you an individual. Is it your heritage, your friends, your family? Is it what you love, your memories, your passions? Perhaps it’s the town you grew up in, or the languages you speak? It could be all of them; it could be one of them. What makes you an individual is what makes you different. 1.
Creatively capture your individuality in any way you like. If it’s a 3D object that sums you up, photograph it. If it’s a whole lot of them, make a collage. Write a poem, tell a story, draw, sew, knit, paint. Just make sure that whatever you create can ultimately be fitted into your profile pic. If you create your entry inside your profile, please realise that whatever is outside of it will get cut off.
If your entry is 2D scan it to your computer, if you'd rather take a photo of it, take a pic and save it to your computer, just make sure your artwork is in portrait format, and not horizontal.
Click on “Try out here”, fill in the online entry form and upload your entry, along with a photo of yourself shot in profile. Neither your entry nor your photo must be more than 10 MB in size.
Published on Dec 9, 2009