Project Archive

Project description of Phoenix Landscapes

The project’s concept is based on an obvious paradox in an attempt to rethink what contemporary ceramics is.
On one hand to make a funeral for ceramics – based on the idea that there is no future for ceramics in a world where ceramics industries close down and the lack of interest in using ceramics as a media in the art world is a fact – and on the other hand showing ceramic artworks in exhibitions made by some of the most talented and interesting artists working with ceramics today.
35 talented artists working in different art disciplines have been invited to participate in Phoenix Landscapes. The artists will all as a common starting point be invited to produce a funeral bouquet with specification of size and most importantly, with the expression of their usual artworks, as if the pieces were taken out of their own body of artworks. Besides the funeral bouquet the artists will be invited to create two small grave gifts, which should represent objects they themselves would like to have with them in their own grave.

STATEMENT
Standing in front of the mirror. The early morning bathroom tiles are cold, burning my toes. Reaching for the soap, need to shave my legs. I am struck by the feeling of being in two places at the same time. One foot is touching the floor, and the other is dipped in warm water of the sink. Heaven and hell! While shaving, the floor is getting slippery from the soapy water. Need to concentrate on gravity…hmmm, what I really need is to move, to another place, to the perfect home with a bathtub. Second thought, just got here and there are still boxes piled up and unpacked from that other place.

Girl behind flowerpots

When I visited New Jersey last fall I found two photographs in an antique shop. In a project I call GIRL BEHIND FLOWERPOTS I have collected documentation of people that pose with ceramic.

Parkett

Pictures of the making of the installation PARKETT. The documentation also shows the first installation of the work. The work is made in the shape of a floor that can be built rebuilt and moved to different sights.

Project Ceramic Manifest 0809

Part 1

  1. Use of clay is forbidden.
  2. Use of porcelain is forbidden.
  3. Jump in the worst trap with both legs – SIMULTANIOUSLY, to get safely to the other side
    The works must be inspired by the history of ceramic AND/OR applied arts)
  4. The works must evoke a clear deficit, or point out the lack of ceramic clearly.
  5. A: Focus on HOW to make something, not on WHAT to make
    B: Be merry, but neither spoil, nor break anything nor indeed gnaw at anything
    C: Eat well of good things, but drink with moderation in order to be able to find ones legs when leaving
  6. Use of shapes related to ceramic is forbidden
    ( NO TEA POTS!! CUPS !!! or VASES !!!!)
  7. Mixing materials is forbidden.
  8. Artist must have a recognizable signature-stamp
  9. The colour-pallet must match glazes in-coloured with metal oxides
    (NO STATIC STAIN LIKE COLOURES)
  10. All art-works must have titles
  11. One must built a prison to obtain Freedom

Statement:
So use of clay is no longer an option? My search for the ceramic spokesman in this project has started. Finding”the other” to integrate in the ceramic system of values and ideas, liberating it from its field, giving it a new validity and meaning. In which way will it lose its function and take on another? How far can I go before the ceramic presence will not be recognized? This project will be about working about and not with the material of origin. So from now on, mentally I am lying on the beach, but physically you will find me swimming in the sea. While swimming, the conversation should be about sand. Having the distance from shore, surrounded by cold water I might just discover the cure for material-tiredness. The manifest set of rules could be created for fighting the-whatever in recent past, present state and for future Sandcastles.

TR: Todalen, Norway 20.09.2008* *

Part 2

  1. The work has to be made from a ceramic material.
  2. Mixing materials is forbidden
  3. Mixing techniques is forbidden
  4. You have to use minimum 2 different glazes per. Art-work, 1 matt and 1 shiny
  5. You must point out a clear inspiration from the material, used in the work for CM0809 part 1
  6. The work has to be able to stand on its one, without explanation of the Manifesto
  7. All art-works must have titles
  8. The colour-pallet must match glazes in-coloured with metal oxides
    (NO STATIC STAIN LIKE COLOURES)
  9. Use of ready-made glaze is forbidden