White or better “bluish” white : pillars, obelisks, piles, stacks, stanchions, balusters, poles, posts..
It is difficult to find the right word for Jieun’s amazing work, maybe ghosts could be also a good description because they appear suddenly and their presence is both strongly real but also fading into translucent white like a shadow of some alien presence.
Jieun tried and succeeded in a technically extremely difficult process, it was incredible to watch her determination to master and dominate material, process and form. At the end of her residency she almost worked round the clock every day to get her project to the end.When her last kiln was fired the whole EKWC was with her.
It took hours to build it up, and Rob the kiln master made a fantastic installation.
One of the ladies entered for good luck, and Rob got help and good wishes from all sides
You can imagine the happiness when all succeeded
and the friends arrived for her presentation
You can see the difference between the first trials and the last ones, but actually a lot of people really appreciate also the “swaying columns” but Jieun wanted them straight and she got them.
and as we would say in German “Hut ab” (hat off) Jieun for your enterprise.
Thirty ladies, their blankets and babies going in the kiln at 1280 degrees!!!!
You can see there is some kind of excitement going on
not that they are frightened……let’s say just a little bit in “disorder”
and in fact they ought to be ……
the fork lift is approaching……
the fork lift with Marianne contolling every move, so in reality nothing to fear but still quite scary
all up in the air and in this brittle state they are in, every sharp movement could mean the end
but Marianne puts them down soft and smooth and calm is reigning again
now for 24 hourse they will stay here, in the purgatory at 1280 degrees, no guilt could ever withstand
they fit all in and we close and fire, until….
until the next morning…….to open the kiln and see
all seems ok, but….
but no….something terrible happened during the night
a lady in pieces….
scattered in midst of the babies
Well, two ladies litterally exploded (who knows what their guilt was) but all the others are fine!!
and I could bring them up in my studio
where they can breathe fresh air again
and enjoy life.
Writing about a final presentation here in EKWC means the end of a residency and in the case of Alison this is pretty hard. She was my neighbour and became my friend and it seems we knew each other for years and not just for 4 weeks.
Final presentations mean to get all the 12 weeks you have spent here in EKWC to the point, you have to sum up, install, think about packaging, about getting all the final details done, you make your own resumee about the outcome of this intense period, you think about leaving your friends, about getting back to normal…..and its a huge stress…..
Alison got lots of help….. from Luzia
and from Samantha, who returned just to help her set up the three installations
it was a beautiful sight, these snowflakes which by getting nearer turned out to be all little white fingers, pointing at you and making you want to react
maybe with a bite ? A very ambiguos Christmas happening here ?
and her ships with the famous Hokusai wave – surreal and ambiguous kitsch coming from where?a kind of homemade and gentle Tsunami ? an invasion from outer space ?
Of course she had many more and the whole mass would have been really impressive, but not all of them were ready and the same happened to her misterious rocking houses
installed in the dark and moist clay room. But we got a glimpse of what it might be like when all finished and installed in a proper place. But this is also the charm of the final presentations, the work in progress mood you get and the insight into methods and working spaces.
and then the ritual of dressing up, and Alison had really highclass guests…
it was a charming evening that ended with a great dinner
and a memorable swim
under a romantic and drammatic Dutch sky
I did it, my first kiln.
Kiln Nr.5 medium size was mine, what an excitement.
I needed a lot of help, it seems easy but there are many things to consider and to take care of
actually the so called leatherhard pieces are extremely fragile, and need to be handled with extreme care (I broke two legs of my ladies)
I fired directly up to 1280 degrees, almost the highest you can do and it is pretty risky, pieces can crack or deform or break. But I wanted the porcelain to reach immediately the vitrious state to get its hardness, lightness and white colour.
And I was lucky
Nothing broke and the porcelaine got its incredible quality
textile turned into hard and white sculpture without loosing its details and momentum.
and also my ladies in grey stoneware got an almost skinlike quality, only the broken leg remained
it was a great day and I can now contiunue to work with more knowledge of how to proceed. Lota of ideas and possibilities come up and wait to be realized.
Wednesday I assisted my first final presentation, it was a especially big one, five residents together which also means five people leaving this week and new ones arriving on Monday.
It was a great show and a really nice evening.
but also a good morning, beautiful weather
a hit to the beach just before the opening, artists can come 15 min late
and then all spaces turned into installations
here the big kiln room for Ineke’s jewellery
shifting masses, with this beautiful Celadon glaze, hands turned into misterious plants
and we were both in stripes good combination for the following dances
Samatha’s Japanese Wunderkammer
a secret room with a goldfish and red shoes
Birgit’s dogs lurking around the corner
and stylish guests, do the dogs appreciate ?
and we can also see their (the dog’s) birthplace
Eleym’s work in progress installation gives a wonderful insight in her way of working
from photos to drawings
to glaze trials and prototypes for sculpture
visitors get drawn into her very particular world with the impression that nothing is left to chance
and on the second floor Ipek’s vessels with their silent yet intense and at times colorful presence
give the final touch to the show
after this no more documentation but maybe its possible to immagine the kiln room turned into a disco…….
one week full of new people, new notions, new tools, new materials, new words, new surroundings, new rules, new food, new habits
What is the most important among all this new things – maybe my studio, airy and full of light and cozy and segregated at the same time. Every morning I open the door I am happy to enter to see and feel it. I walk around for a while looking/staring/touching the things I did
at the creatures I have been making
I touch the first fired trials – what an amazing feeling – the white porcelain is so light and so hard and strong at the same time, and the contrast to the soft and flexible textile is amazing, and inspiring. All the details of the stitches are reproduced in the porcelain, so it almost seems textile, but then you see a suddent break and you understand that there are different forces at work. This is the accident I did not expect, the accident that opens a new door of understanding, the accident I was hoping to experience.
so I dance around among all these things with a feeling of absolute luxury
how could one not do it
then the massage clock rings – ever got a massage from a seven year old very determined girl, extremely professional, glass os water, timer and discount rate for everyday package
and then there is Ipek next door, she gave me the first porcelain to try with and is answering all my stupid questions with absolute patience. She makes these wonderul vessels, that seem ceremonial objects for sacrifice in their absolute perfection of form, colour, weight and above all surface. Check out her website: www.ipekkotan.com
and then there are the dogs
familiar and distant
frightening and sweet
contemporary and ancestral – like the always known image of a myth diving out of your unconscious. You startle but know this image has been always there and will certainly never leave you again.
Birgit Saupe is the author and this work, as far as I can understand, is also tecnically amazing.
The dogs are 12, lifesize and cast in Bone China the whitest existing porcelaine. Please check out Birgits work: www.birgitsaupe.com
Then in the evening or often also in the early morning, we go swimming……..
Today I learned that porcelaine has memory.
What this means is you cannot totally fix cracks or other kind of faults, a scar will always be visible.
An accident, a failure, a crack which will ‘forever’ change the path.
clay, this material made from the memory of the millenia – the tiny particles that due to their amount of of water adhere so well to each other, and porcelaine the finest of all……
white, translucent and brittle
Maybe I should stop counting the days and give them titles instead. The title of this day would be:
standing on my own feet.
the studio is filling up, more with textiles than with clay for now,
but the clay is advancing, and some trials make me quite happy. Tomorrow I will be able to fire the first porcelaine ones,
together with Birgit’s huge dogs. There I will see if I can continue or if they will crack and break.
the title of the day comes back, feet everywhere and I am actually trying to make a pretty big one.
apart the EKWC, important places beach, river
cathedral – but only for aesthetic reasons !!!!!!!!!!!!!!
90 days to go in studio nine.
it is a huge studio, will I be able to fill it up ? I am the only new comer this week and the spaces and huge works of some other residents are truly intimidating
the only furniture apart a table is this electric mill, which I dont know how to use as all the other enormous machines
good to know that also my friend Ineke Heerkens was taken over by the sizes but decided to stick to small and intimate. If you want to know more about Ineke’s work at EKWC click here
And then many years ago it was also Ruudt Peters’ studio, so at the end I am confident that I will be able to handle it all.
and surely the wonderful weather I brought (maybe) from Italy helps.
working schedules are strict and the titanic bell rings for presentations, studio visits and … meals.
first trials with porcelaine, its so soft but takes the textile patterns wonderfully
and creatures will soon populate the studio.
Arrival at Sundaymorning EKWC
wrong this is the departure 5,30 in the morning
this is it
and unexpected messages welcomed me.
It seems almost like a dream
For who wants to know this is my workplan for these 13 weeks:
The first experience I ever had with artistic practice was a ceramic course, and it was this first encounter, that actually brought me to the idea to engage with art.
My whole life I have been engaging and somehow challenging the limits and the possibilities of different materials.I have studied painting and drawing at the Academy of Fine Arts in Vienna, I then passed to the restoration of churches, to painting on silk, to restoring XV and XVI century golden frames, to realize handmade tapestries, and then (I am avoiding to go through all the experiences I had) to realize contemporary jewelry.This has brought me to use wood, metal, stones, plastics, foam, paper, to name but a few, to realize my projects.
Since 2010, I started to reflect on my own life investigating myself and all the forgotten routes I have been taking. Therefore I started a new project, which consists in collecting the drawings I have made myself in the last 30 years, depicting my son and my daughter growing, my husband, my friends, unknown passengers, places I have visited, things I have seen, dreams I have had, ideas that briefly passed my mind. I also started collecting drawings from others, mostly children or my students, taking their first formalization of ideas or of the world around them.
I then fragment these pieces, I re-create the chaos that memory realizes, to then reassemble them again in new ways and forms, giving them a new birth.
The process resembles the mnemonic process of our brain, our attempt to remember, the impossibility to do so totally, the nebulous and foamy images that come back to us and the capability we have to create new figures and representations out of them. The fear of such inevitable incompleteness, as well as the beauty of it is what attracts me the most. Especially today where the velocity and amplitude of information, makes any experience brief, any recollection more difficult, any remembering more volatile.
Now I would like to transfer this process into ceramic and especially porcelain. Its solidity and fragility, its delicate materiality and elegance, its roughness at the starting stage and its incredible beauty once it griddles, once it transforms, flick from a ducky to a swan, makes it be the perfect materialization for my idea.
Furthermore there is a special element in this technique, that somehow resembles my own history, in the necessity to engage in an almost intimate relation with the hands to be modeled, the fact that even my own body temperature affects the resolution of the piece. I have to engage with it physically and personally, with a sort of a physical attention.
I have been exploring the third dimension that a different material could create since several months, using modelling clay and papermachè. The outcomes so far are interesting but the medium is just not the right one.
My plan is to use this residency to make series of small scale sculptures in ceramics and porcelain to deconstruct them and start a reconstruction to build larger scale sculpture and maybe also jewelry.
I really hope I will be able to live up to my own expectations, in any case a daily report will follow.