From Archive to Object
Through a series of ceramic forms layered with photographic decals, this project explores memory as something tactile, emotional, and shifting. Combining clay, colour, and personal visual fragments, it reflects on how moments from the past can take on new meaning in physical form. Each piece becomes a quiet space for feeling and reimagining, where absence, texture, and image come together to hold something both personal and shared. Clay carries its own memory too, shaped by every step of the process.
Anna Lova Sauk
Instant Imprint: The body as a vessel, a vessel as a body
Everything that lives, lives not alone, not for itself, and everything has its own story. My interest lies in how we embody these stories. ‘Instant Imprint’ is part of an ongoing exploration on how to approach clay with a more embodied method. By combining somatic movement, textiles and the flow of the instant imprint, instant touch, with the controlled process of hand-building and traditional coiling techniques – moving between control and uncontrollability.
Within the empty vessel lies an openness that invites us to find resistance within the fragile, a softness in the rugged and a stillness in this ever-moving flow. Sweden (she/her)
Continuum
Continuum explores the space between function and sculpture through ceramic vessels. Rooted in my fascination with the vessel as the most archetypal ceramic form, the work reflects its role as both a utilitarian object and a timeless symbol of humanity. In close dialogue with the body, each form resembles a figure – each holding not water or grain, but essence. The work invites reflection on surface, rhythm, and an enduring curiosity for a craft that transcends time.
The Shape of What Remains
Grief and loss do not simply pass through us; they settle, reshape, and become part of what we are. “The Shape of What Remains” explores an ongoing exchange between clay and a living biofilm cultivated through the fermentation of bacteria and yeast. Their encounter becomes an expression of transformation and a site of mutual shaping – a slow choreography of change and unification. When the wet biofilm dries, it takes form and imprint from the clay, and over time, it becomes one with the clay body.
Ceramic Clothes
Ceramic Clothes is a still life, a dynamic scene of material transformation, where a static, solid and unchanging substance becomes something delicate, soft and shape-shifting, like clothing. The ceramic objects invite the observer to imagine how the clothes got there, whose body they covered, and whether they are new, clean or used.
Clothes not only keep us warm, but also boost our confidence and help form our human identity. The way we take them off and fold them gives these inanimate forms a human, organic presence and a sense of movement, now fossilized and stilled in ceramic.
Locked Groove
Locked Groove is a recollection of the visual, narrative and sonorous inspirations taken from the movie Millennium Mambo, translated into a glass composition. The body of work merges traditional glass techniques and contemporary graphic experimentations. It is an attempt to merge two different rhythms, cinema and glass, into a single expression. Creating a choreography of shapes and colors that synthesize all dimensions of the movie, from the breathtaking scenography, to sonorities of the almost intoxicating soundtrack. It is a trans-disciplinary homage to the director Hou Hsiao-Hsien and the cinematographer Mark Lee Ping-Bing, manifested through the glass material.
YAWAR (Bloodflow)
YAWAR is a deconstruction and reinterpretation of Pre-Columbian Peruvian ceramic vessels. An aesthetic exploration of the interplay between body and spout, honoring a deep and beautiful tradition disrupted by colonialism. Functionality and sculpture meet in a group of objects that bring together opposite worlds. Past and future, earthy and metallic, north and south.
AFTER THE PARTY
This body of work is a quiet rebellion – against conventional utility, against technical perfection, and in favor of softness, slowness, and presence. Rooted in the aesthetics of late 20th-century Danish and Swedish glass, it draws on bold forms, industrial clarity, and material honesty to reimagine the objects we gather around. Centering the candleholder and the candelabra, this work explores how form, memory and material presence can intersect around the dinner table. These forms sit between function and sculpture, memory and material, tradition and reinterpretation. It is a reflection on time, use, and presence – offering a new way to think about everyday objects. Denmark (she/her)
Embodied Traces
As a maker, I often ask myself: What do I leave behind, and what leaves something in me? This body of work explores the concept of traces – marks left by experiences, objects, memories, or knowledge. Some are formed through conscious intent, while others are left behind unknowingly. As a way to express my inner world, I create physical traces, inspired by remnants and symbols for the passage of time. I make artefacts that reflect on the past, resonate with the present, and gesture towards the future. These works prompt reflections on our interconnectedness and the enduring impact of each moment.
As I Walked: The Encounter with Bornholm’s Industrial Ceramic History
While exploring Bornholm in search of local clay, I came across the forest-covered remains of Hasle Klinker and Chamottestensfabrik, which operated for over 150 years and was once the island’s largest ceramic factory. Scattered beneath the soil, I found tiles, bricks, and glazed pipes made from local materials and labour. I excavated, selected, and cleaned these fragments, arranging them into a walk-around installation. As one moves through the work, subtle shifts in colour, curvature, firing scars, and traces of time become visible, aiming to revive the material memory of Bornholm’s industrial craft.
Stoneware, porcelain
What does it mean to truly value the objects we use every day? Imagine a bowl from your childhood. Over time it disappears, but the memory lingers. Why does the loss of such simple objects carry emotional weight? This work explores that question through the lens of ceramics and the everyday ritual of the set table. The table becomes a site of inquiry: a daily shared space where objects are not only used but also felt, remembered and passed on. Reflecting on the role of handmade objects in a culture driven by speed and disposability. I position myself within this dialogue – creating ceramics that invite not just use, but conversation, reflection, and the subtle storytelling of everyday life.
the vulnerable as a place of power
For thousands of years, we have used ceramic vessels to hold substances essential for life. From the maternity pot to the urn carrying our ashes, the vessel follows us through life. I made this vessel to hold a moment of softness. I put in my doubts and fears and I saw them transform into energy. Through my vulnerability, I found a power, and I want to give it to you. In times of struggle, let us use our vulnerabilities as a power and let it connect us.
Agata Kutniowska
Anna Lova Sauk
Anna Mors
Anne Søgaard Frandsen
Denis Botlo
Dimitri Sarazin
Johan Urrutia
Julie Fuhlendorff
Magdalena Köb
Maider Egiluz
Maja Ahnlund
Sally Olika Morks
agata.kutniowska@gmail.com www.agata.kutniowska.com @agatheski lova.sauk@gmail.com @annalovasauk anna_m_hansen@hotmail.com www.annamors.dk @annam0rs anne_frandsen@me.com @anne_franzz denisbotlo@gmail.com www.denisbotlo.com @denisbotlo dimieau@gmail.com @dimitraxs urrutiajohan@outlook.com @urrrrrrutia juliefuhlendorff@hotmail.com @juliefuhlendorff www.juliefuhlendorff.dk koeb.magdalena@gmail.com @magdalena_koeb maideregiluz@gmail.com @maideregiluz maja.ahnlund@gmail.com www.majaahnlund.se @ahnlund.maja Sally.morks@gmail.com @sally_morks
Contact list 2025
© 2025 Royal Danish Academy. Crafts in Glass and Ceramics. Stenbrudsvej 43, 3730 Nexø. Bornholm, Denmark.
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Thanks to: Augustinus Fonden, Otto Bruuns Fond, Sparekassen
Bornholms Fond, Bornholms Brandforsikring, Aage og Johanne Louis-Hansens Fond, Den Hielmstierne-Rosencroneske Stiftelse
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Mads Holm
Anders Gerning and Tor S. Johannesen
Søren Damgaard
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Munken Lynx, Munken Print White