Bachelor Project '23 - Crafts in Glass and Ceramics

Bachelor Project ‘23

Crafts in Glass and Ceramics

This appendix 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 Appendix

In the following appendix, the 3rd year students from the Royal Danish Academy, Bachelor of Crafts in Glass and Ceramics, will present the process behind their bachelor projects and exhibition. The intention of this small appendix is to illustrate the experience of studying at the school on Bornholm. It is meant to give a sense of the individuality, experimentation and skills that are present in the process of creating a bachelor project. After three years of intensive learning – which has presented both challenges and growing experiences – this diverse group of people has found their own approaches to the interpretation of the craftsperson, as well as a curiosity and openness towards the encounter of the fields of crafts and the arts.

Crafts in Glass and Ceramics

Crafts in Glass and Ceramics

P. 04

Bachelor Project ‘23

Trine Hoppe a. A Ceramic Chair

P. 10 Christina Louise Schultz b. Inner Glow

P. 16

Chiara Della Cava c. Landscapes

P. 22 Ricardo Cristino Vaz d. Sound Through Glass

P. 28

Signe Hvid Thisgaard e. Ambiguous Traces

P. 34

Katrine Ejby Bidstrup f. Shards

P. 40

Peter Brøchner g. Cascade

P. 46

Mathilde Lund Hutters h. Destroyer, Creator, Preserver

P. 52 Manon Hilléreau i. Foramens

P. 58

Birgit Marie Østerby j. Replated

P. 64

Lunyi Zhou Raahauge k. The Rustic and the Exuberant

P. 70

Ricardo Lima Garcia l. Fables of Pareidolia

P. 76

Daito Takefusa m. Hoho wo nadetara – When the Wind Blows

P. 82

Victoria Grigat n. Moment Of Movement

Crafts in Glass and Ceramics

a. Trine Hoppe

b. Christina Louise Schultz

c. Chiara Della Cava

d. Ricardo Cristino Vaz

e. Signe Hvid Thisgaard

f. Katrine Ejby Bidstrup

g. Peter Brøchner

h. Mathilde Lund Hutters

i. Manon Hilléreau

j. Birgit Marie Østerby

k. Lunyi Zhou Raahauge

l. Ricardo Lima Garcia

m. Daito Takefusa

n. Victoria Grigat

a. b. c.

d. e. f. g. h. i.

j. k.

l.

m. n.

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.

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.

Christina Louise Schultz

Christina Louise Schultz

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.

Chiara Della Cava

Chiara

Chiara

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.

Ricardo Cristino Vaz

Ricardo Cristino Vaz

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?

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.”

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.

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.

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.

Manon Hilléreau

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.

Birgit Marie Østerby

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.

Lunyi Zhou Raahauge

Lunyi Zhou Raahauge

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.

Ricardo Lima Garcia

Ricardo Lima Garcia

– 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.

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.

This appendix is published to coincide with the exhibition

Bachelor Project ‘23 – Crafts in Glass and Ceramics

Photography

Kirstine Autzen

Various photos taken by the students

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

Stenbudsvej 43

3730 Nexø

Bornholm, Denmark

www.royaldanishacademy.com Crafts

a. Trine Hoppe

b. Christina Louise Schultz

c. Chiara Della Cava

d. Ricardo Cristino Vaz

e. Signe Hvid Thisgaard

f. Katrine Ejby Bidstrup

g. Peter Brøchner

h. Mathilde Lund Hutters

i. Manon Hilléreau

j. Birgit Marie Østerby

k. Lunyi Zhou Raahauge

l. Ricardo Lima Garcia

m. Daito Takefusa

n. Victoria Grigat

Crafts in Glass and Ceramics