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cover image: NINA HOLE (Denmark)

t he I n te r na ti o n al Cer ami cs St u d io K ec s k e m é t. H u n gary k eep in g c o n ta c t w ith t h e ceramic co m m uni ty • • • • •

Masterclasses Paul Mathieu and Objects of Desire A symposium at the ICS The value of Artist Residencies - David Binns Images from Ruthanne Tudball and Shozo Michikawa


ICONIC IMAGES . . . fro m t h e c o ll e c tio n

Janet Mansfield Australia





06 : 2012 Welcome to the third of our new style newsletters. Each issue is now read by over 1600 ceramists, potters, teachers etc. either as direct download from our website or available via our online bookstand at Our Mastercourses are continuing to prove popular and applications are still being accepted. If you would like to participate in any of these courses, led by internationally acknowledged artists, then please email for an application form as soon as possible. In this issue we feature images from Ruthanne Tudball and Shozo Michikawa masterclasses. May/June is always a busy time at ICS and again we welcome Kansas City Art Institute on our study abroad program, now in its 6th successful year. Next issue will feature a special report on our

Study Abroad programs and what we can organise for your school and images from some of our past programs. If you are considering a residency with us then please email us for further information and an application form. We accept applications at any time but to ensure your preferred time slot please apply as early as possible. Limited spaces are available for this summer.

If you have any suggestions for future courses or events or n article for this newsletter please email to discuss your ideas or send copy to me . . . Steve Mattison International Co-ordinator and Residencies.

Currently we are also working on a major exhibition of works from the collection to be shown in the autumn in Musem of Applied Arts in Budapest. More news of this important show will be available shortly in future newsletters or on our Facebook page.

RESIDENCIES IN AUGUST Due to a cancellation by a student group we still have some places available this August . . .


please email for information 3


Ruthanne Tudball CREATIVE THROWING Some of the images from Shozo’s workshop. See more on our faceboook page photos: Maite Leyun





Glazes for Wood Firing Masakazu Kusakabe

MASTER CLASSES 2012 Our popular series of short mastercourses continues in 2012 with six week long courses and one three week summer course. Please visit our website for full details and prices of all our continuing education courses. Costs for the short courses are 150,000 Hungarian forints and include accommodation in single room, teaching, use of equipment and the materials.

18 June - 4 July, 2012 Discover the traditions, techniques and technology behind Japanese wood-fired ceramics. Masakazu Kusakabe shares everything you need to know to begin or improve as a wood-fire ceramist with his tried and tested recipes for a variety of wood-fire glazes using his Smokeless Kiln. Masakazu Kusakabe’s kilns produce traditional ash-glazed surfaces in relatively short firing cycles with no smoke. He is the co-author of "Japanese Wood-Fired Ceramics", the first comprehensive English-language guide to ‘yohen’, the Japanese classification of wood-firing effects, colors and surfaces. Cost of this three week workshop is 260,000 HUF and includes, accommodation in single room, studio space, tuition and three group firings in the smokeless wood kiln included. The extra costs will be for the clay you use.

Figurative mouldmaking Ilona Romule

Paperclay techniques for sculptors Rosette Gault

Inlay Coloured Porcelain Susan Nemeth

21 - 27 June, 2012

29 August - 4 Sept., 2012

2 - 8 October, 2012

During this 5 day workshop, Ilona Romule will demonstrate her stepby-step approach to design, model and mould making, describing how she transfers factory technology to a studio environment to create unique porcelain figures.

“To gain expressive and technical freedom, I created an optimum balance of recycled paper pulp (cellulose fiber) and clay that allowed me to invent or rather ‘realize’ a system of non-linear construction and mixtures that are impossible with traditional ceramic clay to be fired in kilns. I was first to introduce these so called ‘radical’ and ‘revolutionary’ technical and expressive freedoms.”

My porcelain ceramics are inspired by historical textiles and wallpapers. Sometimes I find my patterns in the backgrounds or details of paintings by Henri Matisse, Paul Klee, Ben Nicholson, Eva Hesse and others. The decoration is integral. Laminated sheets of coloured clays inlaid with hand cut patterns, are beaten, rolled and stretched before forming.








Mas a rece kazu K ntly usa 106 k 02 M had an abe, a belt a kee A ste SA n a http nd you KAZU roid offi amate ://ss c u c can rea an be f ially na r astron To hold a Masakazu Kusakabe teabowl is to o m d sa.g more und in ed af omer, hold the quintessential spirit of the universe in has te ov/s t o bdb n the N he main r him. your hands. He imbues his ceramic vessels and tea .cgi A a st #top SA w ceremonial wares with his love of nature, his interest in ebs eroid i te a astronomy, and his deep spirituality. t:



Desire all, desire is Desire feeds desire Desire all, desire is Desire breeds desire


Márta Nagy (Hungary) - “My little rose garden”

We live in the endless projection of our desires. Desire represents not only objects at hand but that certain values to things that are absent can be attached to objects which enhance our future. In picturing images and objects we respond to the social and economic demands of things themselves, the provocative objects that made up the fabric of our life. Desire has been identified as a philosophical problem since Antiquity. Plato, in his ‘Republic’ argues that individual desires must be sacrificed in the name of the higher ideal. In Buddhist teachings desire is thought to be the cause of all suffering and only by eliminating desire can a person attain ultimate happiness, or Nirvana. Passion and creativity is put into motion by desire. It is desire, along with belief, that motivates action. The relation between the beautiful and pleasure is found in the representation of the object. Can any object can fill this role, the only important thing is that it is desired? As Goethe said - “Desire is the spirit’s wings to great deeds.”

image above: Figen Ishiktan (Turkey) image right: Mette Maya Gregersen (Denmark)




Paul Mathieu

05 - 26 JULY 2012 “In the current complacency of entertainment culture, the creative act has to remain controversial and subversive. One of the few places left for such a subversive critique, strangely enough, is in craft practices.” The evolution of Paul Mathieu’s ceramic practice is articulated over the history of its production. He does not simply make ceramic pieces, functional or otherwise, rather the fabrication is a part of his observation and interrogation of the place of ceramics and pottery in the world and in art. He has worked with serial production, commodification and the consequent questioning of originality and authenticity. Mathieu argues ceramics is a radically autonomous art form. It is conceptually different from other art forms and this conceptual difference can be analyzed by the

coming together of a volumetric hollow form with a distinct surface. Whether this takes the form of functional pottery or sculptural works, these specific aspects are always operative. Materials are not that relevant. It is how one thinks with materials that matters. “To make a functional object by hand today is in itself a critical act.” Paul Mathieu also writes regularly on issues related to art and to ceramics and his essays have been published, worldwide, notably in his book “Sexpots: Eroticism in Ceramics”. He teaches ceramics, among other things, at Emily Carr University, in Vancouver, Canada. His new book-length series of essays on the history of ceramics “The Art of the Future” can be downloaded for free, text and images at

Paul Mathieu is an invited artist on the international ceramic symposium, “Objects of Desire”, 5 - 26th July, 2012. If you are interested in participating in this symposium, please email Steve, 8


A symposium at the ICS The symposia and meetings of the International Ceramics Studio were initially ‘get to know each other’ programs initiating a dialogue made necessary by the historical and political isolation of the Iron Curtain. As the symposium developed they became thematic such as “The Dinner Table” and at other times the programmes were technology based, organised by the studio to learn new technology and to pass on this acquired knowledge. We experimented with wood, oil and gas kilns, learnt salt-glaze firing and worked with the new media of computers and print technology. Each participant works on their own work alongside the other participants. This generates a more informal situation where the artists exchange ideas and techniques more freely. Each participant will give a presentation about their work to the others in an organised timetable during the symposium. The invited guest artists will also give a demonstration about their work near the beginning of the symposium. An exhibition of the works completed during the symposium will be shown in our museum gallery. Usual each symposium features an Open Day where members of the Hungarian Ceramics association, teachers and students will visit the centre to see the symposium participants. Each symposium tends to be different because of the different artists and the dynamics they each bring to the centre.

In 2004 the ICS organised the 1st International Paperclay Symposium featuring some of the worlds leading paperclay artists. During the three week syposium, workshop participants created new works, shared information and learned new techniques through the formal and informal sessions, discussed the advances and developments in this relatively new and expanding field of ceramics through the series of slide shows and lectures from all the participants. Each year the ICS organises at least two international symposia. In 2012 we have the Objects of Desire” followed in September with “Paperclay - Firing Fibres II.” It is hoped that the second Paperclay symposia will continue and build on the experiences of the 2004 event and we welcome back some of the international artists from the first event, including Rosette Gault, Margit Gerle, Jerry Bennett and Gabriella Kuzsel. More information on the participants will be in the next issue. Thee cost of participating in a symposia is 210,000 HUF, this includes accommodation, studio space, use of equipment and facilities of the studio. Extra costs are for the actual materials you use and the costs of firing. Participants usually fire kilns communally so the costs are shared.

image above: Elisabeth le Retif (France) image left: László Horváth (Hungary)

For applications for the mastercourse “Paperclay Techniques for Sculpture” with Rosette Gault, 29th August - 5th September, 2012 and the symposium “PAPERCLAY - FIRING FIBRES II”, 6th - 27th September, 2012 - please email Steve.



Shozo Michikawa

SCULPTURAL THROWING Some of the images from Shozo’s workshop. See more on our faceboook page. photos: Maite Leyun





Why Artists in Residence ? DAVID BINNS Great Britain The Ceramics Studio in Kecskemet is hugely important as an internationally recognized centre of excellence for contemporary ceramic practice a beautiful place where students, young artists and mature, internationally recognized makers from around the world can meet, work together and share ideas, for the betterment of world ceramics. From a personal perspective, the Studio has been hugely important in the development of my own ceramic practice – a tranquil, yet highly creative environment, where I have been fortunate to work a number of times, allowing me the opportunity to develop new ideas in a way not possible anywhere else, and hopefully share my practice with other artists.

the INTERNATIONAL CERAMICS STUDIO . . . keeping contact with the ceramic community ICS WEBSITE MAILING LIST If you would like to be added to our mailing list just email We do not pass on your information to anyone else. EMAIL ICS Steve Mattison - Residencies and International Contact Kormos Emese - Hungarian and exchange student contact

International Ceramics Studio H-6000 Kecskemét Kápolna u.11. Hungary

FACEBOOK Photos and news are available on Facebook. Go to the link below and click “like”. ICS CERAMICS NEWS online at:


June 2012 - News and information from the International Ceramics Studio, Kecskemét, Hungary