Bachelor Project '23 - Crafts in Glass and Ceramics

Catalogue

Bachelor Project ‘23

Crafts in Glass and Ceramics

This catalogue is published to coincide with the exhibition Bachelor Project ‘23 – Crafts in Glass and Ceramics Exhibiton schedule Ceramics and Glass Bornholms Kunstmuseum Otto Bruuns Pl. 1, 3760 Gudhjem 24.06 – 03.09 Glass Glas – Museet for glaskunst Strandvejen 8, 8400 Ebeltoft 08.09 – 05.11 Ceramics CLAY Keramikmuseum Danmark Kongebrovej 42, 5500 Middelfart 15.09 – 12.11

The exhibition would not be possible without support from the foundations below.

15. Juni Fonden Augustinus Fonden Dansk Tennis Fond Otto Bruuns Fond Sparekassen Bornholms Fond Martha og Paul Kerrn-Jespersens Fond William Demant Fonden Aage og Johanne Louis-Hansens Fond Frimodt-Heineke Fonden

Bachelor Project ‘23

Catalogue

14 new experts in the materials glass and ceramics. 14 new individual artistic approaches within the field of crafts. 14 very different projects that all have roots in old traditions and the human need to make objects and express individual material voices.

These projects have so much to offer if they are given reflection in a fast world. The projects came out of deep material competence and an understanding for narratives that we have in common; our stories, the view on everyday artefacts, and what we identify with.

Projects about cultural identity and how to move traditions forward.

There will also be projects that covers the paradigm shift in how we use resources and raw materials in the craft field, a much-needed investigation to be done. Also, projects about senses and how to enhance the viewers and users’ presence with a close connection to the human body and what we do not see.

The two materials have been pushed to a limit in these projects, and all 14 students have gone out of their comfort zone when searching for new paths to artistic material expression. 14 new and talented craft makers are represented in this catalogue. I wish them all the best of luck in a fast world, where they will have to step on the the break sometimes and insist on the power of craft knowledge and material understanding.

Nina Erichsen, Head of Programme, Crafts in Glass and Ceramics

Crafts in Glass and Ceramics

01

Crafts in Glass and Ceramics

Bachelor Project ‘23

P. 04

Trine Hoppe a.

A Ceramic Chair

P. 10

Christina Louise Schultz Inner Glow

b.

P. 16

Chiara Della Cava Landscapes

c.

P. 22

Ricardo Cristino Vaz Sound Through Glass

d.

P. 28

Signe Hvid Thisgaard Ambiguous Traces

e.

P. 34

Katrine Ejby Bidstrup Shards

f.

P. 40

Peter Brøchner Cascade

g.

P. 46

Mathilde Lund Hutters Destroyer, Creator, Preserver

h.

P. 52

Manon Hilléreau Foramens

i.

P. 58

Birgit Marie Østerby Replated

j.

P. 64

Lunyi Zhou Raahauge The Rustic and the Exuberant

k.

P. 70

Ricardo Lima Garcia Fables of Pareidolia

l.

P. 76

Daito Takefusa Hoho wo nadetara – When the Wind Blows

m.

P. 82

Victoria Grigat Moment Of Movement

n.

02

Crafts in Glass and Ceramics

a. b. c. d. e. f. g.

h. i. j. k. l. m. n.

Trine Hoppe Christina Louise Schultz Chiara Della Cava Ricardo Cristino Vaz Signe Hvid Thisgaard Katrine Ejby Bidstrup Peter Brøchner

Mathilde Lund Hutters Manon Hilléreau Birgit Marie Østerby Lunyi Zhou Raahauge Ricardo Lima Garcia Daito Takefusa Victoria Grigat

l. a.

b.

c.

Bachelor Project ‘23

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e.

f.

g.

i. h.

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m.

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03

Trine Hoppe

A Ceramic Chair

There are things here in life that we do not always give enough credit and things we might give too much. Like what it means to be able to touch something or what it means to us when we can’t or don’t dare.

In this work the focus is to unfold the interfaces between the familiar of the functional and the unfamiliar of the sculptural.

It is in this intertwinement of the two understandings of object qualities that we might find ourselves experiencing material qualities in a new way – in this case a ceramic lounge chair.

In the land of the functional we are entering the security of the recognizable. It fits into a box of something we know – it’s a chair.

It shortens the psychological distance between you and the object, along with the physical distance by being an object where you recognize the use – you understand it automatically. On the other hand, by being displayed as a sculpture we find the chair again as an object of observation and wonderment. An object whose presence alone is for your experience of it – you have to reflect to understand it. A chair made to fulfill certain purposes. A chair to sit in. A chair to investigate.

An object and a material to experience again – in a new way.

Have a seat.

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Trine Hoppe

A Ceramic Chair

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Trine Hoppe

A Ceramic Chair

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Trine Hoppe

A Ceramic Chair

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Christina Louise Schultz Inner Glow My work is driven by a desire to explore the sensuous aspects of material and matter. It especially intrigues me, how materials, such as clay & glaze, have the power to envelop our senses and evoke feelings of wonder and playfulness.

I believe we humans have an innate curiosity to explore, question and understand the world around us. And in that world, we find materials, matters and objects, that affect and influence us, whether we are aware of this or not.

My work is highly material based, and I very much see it as a dialogue between me and the material. I affect the materials, and the materials affects me.

This project is a research into sensory impressions, and how artificial light and tactile matter affect each other and the viewer as well. The materials include clay and glaze, and furthermore waste-materials from the local waste stations. I am curios to transform a discarded material that no longer holds any value and let it provide a quality to my work.

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Christina Louise Schultz

Inner Glow

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Christina Louise Schultz

Inner Glow

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Christina Louise Schultz

Inner Glow

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Chiara Della Cava

Landscapes

For my bachelor project I take a quintessentially functional form, the plate, and reframe it within the context of the museum wall.

Though simple in design, this series holds layers of meaning and memory that speak to my making process.

When I create, I entertain a dialogue between myself, the elements, and tradition. As I mold and shape the clay I seek to pay homage to the echoes of heritage that precede me. The traditional form of the plate, rooted in its utilitarian purpose and cultural significance, becomes the canvas on which this dialogue unfolds.

Wood firing, with its centuries-old history, further speaks to the collaboration between the elements and the maker. In this project the wood kiln is a crucible of transformation where slip, glaze, fire, ash, and soda work together to create painterly surfaces fused onto the clay. This illusion of depth invites viewers to explore the hidden landscapes of movements and colours captured within each piece. As these plates hang together on the wall, they initiate a discourse among themselves and their surroundings.

Through my work I seek to honor the historical legacy of ceramics and the timeless allure of functional forms while challenging traditional expectations of the nature of ‘functional’ and encouraging reflection on the intersection of art and craft.

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Chiara Della Cava

Landscapes

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Chiara Della Cava

Landscapes

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Chiara Della Cava

Landscapes

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Ricardo Cristino Vaz

Sound Through Glass

My exploration of glass acoustics gave birth to a new relation between me and the material. Interested in mixing the worlds that I love and pushing boundaries between art and craft, I have created a mixed media installation that presents a glass piece as a sound sculpture activated through sound exciters and as contact microphone that I use during the video performance. In the video I drag glass canes on the ground creating vibrations that travel throughout the piece that transforms them into sound where characteristics like sharpness and reverberation are enhanced.

The public is invited to get close and touch the glass piece that is reproducing the sound from the video. All the elements together create an unusual experience and interaction with the material.

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Ricardo Cristino Vaz

Sound Through Glass

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Ricardo Cristino Vaz

Sound Through Glass

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Ricardo Cristino Vaz

Sound Through Glass

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Signe Hvid Thisgaard

Ambiguous Traces

A trace is a mark left behind by something which was there before. To trace is an action of finding something which was lost or forgotten, but is also the action of drawing along the outer lines of a shape, copying it, in a sense, to create a new shape.

At a time where we, especially younger generations, are currently faced with crises from what seems to be left and right, I understand the need to go out and look for something that can create a sense of grounding. I think however that it seems strange that we are traveling far and wide to look for this ‘thing’ to bring back to a place where it might not carry the same meaning as it did where it came from. Is there any chance that we could find solace somewhere in our own identity, instead of someone else’s?

Can we look back in our history and find traces of an abundant spiritual understanding and perhaps relate some of this to our current life and situation?

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Signe Hvid Thisgaard

Ambiguous Traces

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Signe Hvid Thisgaard

Ambiguous Traces

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Signe Hvid Thisgaard

Ambiguous Traces

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Katrine Ejby Bidstrup

Shards

Katrine Ejby Bidstrup works with curves and abstraction of the human body. Her bodies reveal emotions and deals with important aspects of being human. However, for her bachelor project she has taking upon a new challenge and present a project with roots in historical ceramics and alternative creation methods.

With ceramic shards she turns our perspective of broken and whole and challenges us on what we perceive as worthy and valuable. What starts with an intact object change into material fragmented inputs and ends with a unique artwork.

“I am curios on shards as a sculpture element and how I could use it in an artwork. I crash my objects to push the objects to new material qualities, which I display in the final artwork.

Initially I want the piece to awake a sadness of what is no longer, but more important I want to awake a curiosity about what is and could be.”

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Katrine Ejby Bidstrup

Shards

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Katrine Ejby Bidstrup

Shards

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Katrine Ejby Bidstrup

Shards

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Peter Brøchner

Cascade

Cascade intends to investigate the nature of glass as it passes through changes in the kiln by heating up and cooling afterwards.

With the philosophy based on equality between me and the glass as the two main actors, the aim is to freeze the motion and behavior of the glass to reveal parts of the immediate materiality and qualities of glass, in the hopes of creating autonomous and self explaining sculptures revealing the the process which have transcended the material from an industrial slab in a mode of stand-by into a independent sculptural mass. The sculptures should stand as a representation of themselves and act as their own explanation, not only for their individual expression but also for glass as a material, with marks left from the process, revealing the will and power of the glass, telling the audience its history, which happened inside the kiln and created a cascade of glass.

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Peter Brøchner

Cascade

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Peter Brøchner

Cascade

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Peter Brøchner

Cascade

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Mathilde Lund Hutters

Destroyer, Creator, Preserver

My project is about the cycle of life in regards to our own time here on earth, the time that came before us, and the time that may come after. I am equally raising awareness of the life cycle of the materials that the earth provides us and on the relationship that we have to these, or lack thereof.

By raising awareness of sustainability and spirituality I seek to highlight how we as human beings are not separate from nature.

My project is also about deconstructing crafts as we know it. As a maker I use materials that have been destroyed and pulverized by others for my own purpose. I want to introduce the raw material in itself, this may be a crystal or a rock that would otherwise have been broken.

I work by making slabs of clay, cutting and assembling them into geometrical frames which are considered harmonious shapes that go again in all aspects of life. I am exploring the relationship between the earth and the moon physically, mathematically and spiritually.

I see reconciliation between man and nature as an essential step towards creating a more sustainable future. It’s a process of healing the wounds that have been inflicted on the natural world and creating a more harmonious relationship between spirit, body and matter.

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Mathilde Lund Hutters

Destroyer, Creator, Preserver

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Mathilde Lund Hutters

Destroyer, Creator, Preserver

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Mathilde Lund Hutters

Destroyer, Creator, Preserver

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Manon Hilléreau

Foramens

My work is the result of 3 years of research focusing on the outside and the inside of the body. I am deeply fascinated by the hidden world that lies beneath our skin and the intimate relationship that we have with our own bodies.

Through my work, I strive to reveal the body’s aspects that often go unspoken or unnoticed. To immortalize its inner layers, fluids and muscles that enable us to function and move, I use vibrant shades of red and pink. My aim is to create a visual representation of the complexity of the human body and to celebrate its beauty.

Glass is the most live material I have ever been in contact with. It is unpredictable, spontaneous, and once cold, it can last for ages.

I like to see the body as a complex and ever-changing material, much like melted glass.

Once the pieces are blown and shaped, the second part of my process happens in the cold shop. I like to call this step the “glass dissection.” There and then, by cutting the pieces into different parts, I create an open window to their insides.

The patterns that I create inside the glass represent what’s both literally and metaphorically under the skin. It shows the very essence of us, our fragility, vulnerability, aliveness, softness, and delicacy.

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Manon Hilléreau

Foramens

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Manon Hilléreau

Foramens

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Manon Hilléreau

Foramens

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Birgit Marie Østerby

Replated

‘Replated’ is a research-based project exploring the boundless possibilities of the resources around us, in the field of ceramics and ceramic glazes.

These investigations strive to give renewed life onto industrially produced porcelain plates that have been discarded by their users, yet still functional.

I experiment with glaze materials that are either biproducts of industry or found in nature, ingredients that historically have been used for ceramic glazes. These materials being recycled glass and materials from Bornholm’s subsurface such as clay and granite.

The resulting colours and textures depend on their chemical composition and region of origin, which are enhanced with a few traditional glaze elements.

When I am replating the anonymous white plates with my glazes, I am—as a jeweler who is gold-plating a silver ring—changing their surface, perception, and value. The plates are transformed from an anonymous ‘no-design’ by adding a layer of craft and ceramic quality.

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Birgit Marie Østerby

Replated

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Birgit Marie Østerby

Replated

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Birgit Marie Østerby

Replated

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Lunyi Zhou Raahauge

The Rustic and the Exuberant

The project is an open dialogue between earthenware clay and me. I observe the material and try to reveal what I see. If porcelain is noble and luxury, then earthenware is rustic and lively.

I threw the vessels on a kicking wheel and alter them while lifting them from the wheel head. I try to show the plastic nature of the clay.

The slip and glaze are mingled and applied liberally. In between the humble material, the rustic expression and exuberant glaze, I found the representation of a materially simple but uninhibited life.

I draw inspiration from Chinese Sancai ware, rural pottery from Denmark and South Europe, human body and music.

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Lunyi Zhou Raahauge

The Rustic and the Exuberant

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Lunyi Zhou Raahauge

The Rustic and the Exuberant

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Lunyi Zhou Raahauge

The Rustic and the Exuberant

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Ricardo Lima Garcia

Fables of Pareidolia

The objects I create strive to give shape to the notion of spirit and explore the connections which one can have with objects that are simultaneously familiar and uncanny. In ‘Fables of Pareidolia ’ I’m celebrating the inhabitants and organisms of an other worldly realm made of clay. A universe inspired by diverse cultural, literary and art-historical sources – from pre-Colombian clay figurines, bronze age artifacts, sci-fi, folklore and contemporary pop culture.

In many respects my work exemplifies the confusion of categories by merging opposite and contrasting forces – traditional vs experimental, rational vs emotional, delicate vs visceral. Resonant and multi-dimensional, my work constitutes an exploration of eternal anthropocentric themes such as identity, perception and intuition.

I believe that an object can transmit emotions, especially if those same emotions were a main creative force in the process of making. I expect the viewer can sense these emotions I infused my work. It is usually a mix of drama, playfulness, confusion and joy. I wish above all to set a space for the mind to wonder, to inquisite and explore, to pursue meanings and to invoke the emotional connections which are felt towards things that have been made by hand with passion.

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Ricardo Lima Garcia

Fables of Pareidolia

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Ricardo Lima Garcia

Fables of Pareidolia

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Ricardo Lima Garcia

Fables of Pareidolia

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Daito Takefusa

Hoho wo nadetara – When the Wind Blows

‘The wind is, indeed, the unbelievably soft, ultimate fossil.’

– Gan Tanikawa, 1989 In Platonic Idealism, eternal truths exist in the realm of ideas.

When the wind blows, when it strokes the cheek, one’s thoughts might wonder into a timeless and spaceless universe. The inspiration for this project came from the metaphysical properties of wind and the interaction between the physical qualities of ceramics. Ceramics as a symbol of concrete material, wind as a metaphysical idea. The aim is to create the meeting point of these two worlds and provide a glimpse into how one navigates this reality and explore a spectrum of perceptions.

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Daito Takefusa

Hoho wo nadetara – When the Wind Blows

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Daito Takefusa

Hoho wo nadetara – When the Wind Blows

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Ricardo Lima Garcia

Fables of Pareidolia

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Victoria Grigat

Moment Of Movement

I am fascinated by clay’s ability to capture the essence of the present moment, whilst being drawn towards the intuitive nature of the material. I have been exploring how clay can preserve momentary conditions, reveal their movements and capture them in the solidity of ceramics.

I have been throwing sections, letting gravity move them out of their center and then assembling the elements into a whole. My aim has been to create organic and growing forms, supported by the upward spiraling throwing lines, colors and surfaces. Through this technical approach I have sought a non-static balance in the hope of capturing a breathing, momentary movement. My group of sculptures aim to activate the negative spaces between each other, creating a dialogue between volumes and spaces.

The process has been playful and intuitive, the creations have taken shape and evolved through my tactile engagement. My exploration has led me to explore the limitless possibilities of forms, resulting in forms that capture the fluctuating movement of moments.

The overall intention is to create pure sculptural movement that stimulates the senses and is open to different interpretations and experiences.

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Victoria Grigat

Moment Of Movement

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Victoria Grigat

Moment Of Movement

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Victoria Grigat

Moment Of Movement

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This catalogue is published to coincide with the exhibition Bachelor Project ‘23 – Crafts in Glass and Ceramics Photography Kirstine Autzen Graphic design Frederik Wendt Print Flyeralarm Typefaces Akademi Text Semibold Tex Gyre Heros Cn Bold Times New Roman Thanks to 15. Juni Fonden Augustinus Fonden Dansk Tennis Fond Otto Bruuns Fond Sparekassen Bornholms Fond Martha og Paul Kerrn-Jespersens Fond William Demant Fonden Aage og Johanne Louis-Hansens Fond Frimodt-Heineke Fonden

Copyright 2023 Royal Danish Academy Royal Danish Academy Crafts in Glass and Ceramics

Crafts in Glass and Ceramics

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Stenbudsvej 43 3730 Nexø Bornholm, Denmark www.royaldanishacademy.com

a. b. c. d. e. f. g.

h. i. j. k. l. m. n.

Trine Bach Hoppe Christina Schultz Chiara Della Cava Ricardo Cristino Vaz Signe Hvid Thisgaard Katrine Ejby Bidstrup Peter Brøchner

Mathilde Lund Hutters Manon Hilléreau Birgit Marie Østerby Lunyi Zhou Raahauge Ricardo Lima Garcia Daito Takefusa Victoria Grigat

l. a.

b.

c. d.

e.

f.

g.

i. h.

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Crafts in Glass and Ceramics