12.1 – 31.1
A “supercell” is a cumulonimbus cloud, or a highly intense storm. Supercells generally always generate violent weather with powerful thunder, torrential rain, strong winds with local storms, major hailstorms and tornadoes.
Dramatic skies, cloud formations and disaster films provided Suzzie Holler’s inspiration for this exhibition. Dark, stormy weather that suddenly turns into sun and light. The chaos of the devastating power of the tornado to the calm at the eye of the storm. That muted colour palette.
Suzzie Holler works with dyed, cast porcelain clay. The raw exterior of the cups and bowls is polished after glaze firing to form a silky smooth inviting surface. After years of exploration, this is a technique that Suzzie Holler has fully mastered. She has long been fascinated by porcelain and for this exhibition, she has expanded the colour palette, adding new shapes and expressions. The functional pieces are brought together in groups, forming an installation of shades from light to dark.
Suzzie Holler is a member of Kaolin and trained at the Central St Martin’s College of Art & Design in London where she gained a BA in Ceramic Design in 1998. Since then she has worked as a potter in Stockholm with a workshop on Södermalm, most recently exhibiting at Kaolin in 2014. We warmly welcome her to the first exhibition of the year at Kaolin.
2.2 – 20.2
“Explo!/extinct! is about technologies for destroying life on the one hand and creating, or at least reshaping, life on the other. An exhibition in which destructive, explosive chaos is set against the well-balanced weight of prehistory. Aesthetically challenging experiments in form are juxtaposed against well-shaped muscles, hair and tusks. Sturdy “mammoth-elephants” representing the result of years of genetic experimentation before finally succeeding in bringing one living mammoth back to life, stand untouched despite the world around them burning in destructive beauty and fragility frozen in time.” Linus Ersson.
For his exhibition at Kaolin, Linus Ersson has worked with sculptural pieces in stoneware, porcelain and glazed earthenware. He works in Stockholm and trained at Konstfack (Master’s 1998), studied art and architecture at the Royal Institute of Art and attended Konstfack’s Research Lab. Linus Ersson has received several grants from the Swedish Arts Grants Committee and had a number of one-man shows in Sweden and abroad, including an invitation to attend the Nature Addicts Fund Academy in Kassel in partnership with DOCUMENTA(13) and Attention: Craft at Stockholm’s Liljevalchs art gallery in 2014. As a member of the design and crafts group We Work In A Fragile Material, he has exhibited in Sweden, New York and London.
MATERIA AND LIGHT
23.2 – 13.3
At her exhibition at Kaolin, Helena Andersson presents her most recent works for walls; square and rectangular modules in different groupings, made in glazed stoneware combined with folded and polished brass and copper plates. Tenmoku, nuka, celadon and oribe are names of high-fire glazes and are also the paints that Helena Andersson has used to paint the abstract motifs. Bringing several modules together causes the work to grow in size without losing its original geometry.
Helena Andersson works in Gothenburg and has a studio in Sockerbruket. She lives with the Spanish artist José-Antonio Sarmiento and spends periods working in the village of San Cibrián de Ardón in León where they have a pottery workshop with a large wood-fired Anagama/Noborigama kiln, the only one of its kind in Spain. The works for the exhibition at Kaolin were reduction fired in a combined electric/gas kiln.
Helena Andersson trained at the Academy of Art and Design at the University of Gothenburg and has an MFA in ceramic art (1998). Her works are found in private and public collections, including the Swedish Parliament, Public Art Agency Sweden, the Ministry for Foreign Affairs, the Röhsska Museum of Design and Craft and in the West Götaland region. She has received a number of grants and was awarded a 2-year working grant by the Swedish Arts Grants Committee in 2018.
PLATES AND SHAPES
16.3 – 3.4
“I strive to find a form of expression which integrates my painting with my pottery. I love abstract decor, wide forms and throw a lot of plates. It’s fun! I push the boundaries, with as much clay as I can manage to centre on the wheel, until the shape almost collapses. Then I let it rest, wait a day and carry on throwing. Then I stop, ponder and feel whether the right shape is in there. Then I take my paints and brushes, gather my thoughts, take a deep breath, and let the brushstrokes powerfully or lightly meet the rounding and edges of the plate. Perhaps there is something there that’s important to the emotions. That can’t be done a second time.” /Linda Ljunggren
Linda Ljunggren trained as an art teacher at Konstfack (1993–97) and has alternated teaching with working as a potter and artist. She works in Stockholm and has a studio both at home and at G-studion in Gustavsberg. She has held several one-woman shows and participated in group exhibitions. She has been a member of Kaolin since 2016.
16.3 – 3.4 2019
The foremost ingredient of white porcelain clay is kaolin, and the name of the gallery provided the inspiration for Elina Titane’s exhibition, White. All her pieces are made in this exclusive material, which is hard to work with. Mastering one’s own limitations and those of the material is part of the drive that underlies her creativity and she strives to give the form an expression that leaves room for interpretation by the observer’s own imagination.
Elina Titane is part of a young new generation of craftspeople from the Baltic Countries. Her sculptural works have been shown around the world and her delicate pieces inspired by nature have received much attention. At Kaolin, she will be showing sculptures in white porcelain from the past ten years, some of the more recent created in Jingdezhen in China, where she was artist in residence in 2018.
Elina Titane has a Master’s degree from the Latvian Academy of Art in Riga (2008) and has had a large number of one-woman and group exhibitions in Latvia and abroad.
6.4 – 30.4 2019
Lippa Dalén has been fascinated by tulips for years; photographing, modelling, drawing and producing decals of them. For her exhibition at Kaolin, she has interpreted and enlarged different stages of development of the tulip flower in fired clay with a thin coating of vinyl paint. The sculptures are an attempt to depict the link between the physical and matters beyond words and shapes.
Lippa Dalén graduated from the Bergen Academy of Art and Design. She worked in Norway for a long while, where she gained attention early on for her functional pottery in which she combined traditional pottery techniques with decals from the porcelain industry and gold rims. She has had a number of exhibitions in Sweden and abroad and has completed many decorative commissions in Norway. Lippa Dalén is represented at several Norwegian art museums through the Fund for Purchasing Norwegian Applied Art and has received several working grants in Norway. Her most recent exhibition at Kaolin was in 2012.
CLAY MILKY WAY
The fascination with attempting to control the hard to control is a powerful driver, and, combined with the random process of smoke firing, this creates Emil Berild’s personal style of expression. Experimentation is an important component in his creative process and the end result is never the same twice. The surfaces bear traces of the process, sometimes deliberate, sometimes unique, producing contrasts and depth that open up space for imagination and contemplation in the observer.
Different combustible materials, metal oxides and salts are used in the smoke firing process, all placed in an enclosed container in the kiln. When they catch fire, the kiln fills with smoke, which, together with a thin layer of Terra Sigliata slip on the pieces, produces their unique look. For this exhibition, Emil Berild has worked with large-sized vessels and plates; the first results from his recently re-built outdoor kiln.
Emil Berild trained in the USA where he learned from Leary Letofsky in San Francisco. He has been a member of Kaolin since 2008 and this is his second one-man show with us.
1.6 – 18.8 2019
AFTER THE SUMMER
24.8 – 11.9 2019
“This is an exhibition that isn’t about moving forwards and seeking out new things but more about stopping, reflecting, going backwards, seeking a time when the clay and I were in harmony – I remember the feeling.
After ten years working as a gardener in parallel with pottery, I am full-time in the studio again. I was clearing out and throwing things away in late winter/early spring when I found a pot I liked that must have been 25 years old. I remember when I made it. That was my starting point. I have kept that pot with me in seeking my design language, defining what I think is beautiful.
After the summer comes harvest – that’s the cycle of nature – this is my harvest after 40 years as a potter. This is how it turned out.”
Dale Karlsson was born and works in Vimmerby in Småland and started his career throwing on the wheel at Stenkärlsfabriken in Höganäs. Alongside pottery, he has also worked as a head gardener and beekeeper. Dale Karlsson has held a large number of one-man and group exhibitions and received a number of working grants over the years. He is represented at Public Art Agency Sweden, Stockholm County Council, Östergötland County Museum and the Rackstad Museum in Arvika.
14.9 – 2.10 2019
“In the exhibition “Still Life” I explore my ceramic objects in relation to a form of presentation that can be reminiscent of the way retailers display products. The work, that I see both as an installation and as a presentation, can be read as a whole, but also as a way of focusing attention on individual ceramic objects. How will the viewer relate to this? I’m interested to see. The objects themselves are largely non-functional pieces, but still refer to a familiar form that could have incorporated functionality had they not been the way they are. Abstract but still something that reminds us of familiar everyday shapes.”
Elisabeth Billander blends the expression of the clay with other materials and often works on parts of a whole, where contrasts – harmony, form, colour and scale are important components. She works in all kinds of clay, from earthenware to stoneware and porcelain. For her, it is the making that is the most important thing; composing, putting together and placing objects and materials in relation to each other and in relation to the space. The role of the visitor is important too. It is about a wordless dialogue – between her and the material, between the works and the space, between the space, the works and the viewer.
Elisabeth Billander gained a Master’s degree in ceramic art from the Academy of Art and Design at the University of Gothenburg in 2010. Since then, she has worked as a potter and artist, interspersed with work as an art teacher, guest speaker, tutor and technician at folk high schools and on art courses in higher education. She has received a number of grants and her works are represented at the Röhsska Museum of Design and Craft, the West Götaland region, Eksjö municipality and Sörmland County Council.
5.10 – 23.11 2019
With rhythmic shifts and variation in details, Danish potter Lotte Westphael builds up her geometric patterns in coloured porcelain. Deepening her knowledge of the technique has enabled her to create her own systematic and ordered graphic universe in which the interaction between the exterior and interior of the cylinders creates a visual relationship. The story of “time” is also interwoven in the works. She draws her inspiration from the woven fabrics of the Bauhaus School but also from her travels in Japan and a childhood in a family of weavers. Lotte Westphael has developed her own sublime technique over years of craftsmanship. Fragments of coloured porcelain are brought together in vertical and horizontal lines forming patterns in porcelain sheets 2–3 mm thin which are then shaped into cylinders, Syncopes (a rhythmic shift). Great emphasis is placed on the composition of the patterns and the manufacturing process is slow. Lotte Westphael works in Denmark and trained at Design School Kolding in 1988–93 and through work experience in various ceramics workshops in Japan. She is represented in the Plinth Gallery in Denver, USA and Maria Wettergren Galerie in Paris. Lotte Westphael has exhibited in Denmark and Sweden as well as in Europe and has received a number of grants from the Danish Art Foundation.
26.10 – 17.11 2019
“I am seeking balance. In life, obviously, but also in materials and expression. I don’t know whether I will find it or whether it even exists. I’ve always been attracted by slightly skewed and irregular forms of expression. Maybe because imperfect is more human. But there has to be a balance – the right amount of irregularity. Not too much, just right. Otherwise, it’s nothing but chaos. The knot was my starting point, a knot that can’t be undone without cutting the tie. A Gordian knot. It’s about family ties, a tie that is very hard to break. The strongest band is the tie to my son. But as in most families with small children, daily life is about constantly managing chaos and seeking your own functioning routines to find balance. If it even exists. Maybe it’s more about embracing the chaos.”
Tove Tengå works a great deal with drawing, painting and graphic illustration. She builds her sculptures in earthenware but also works with porcelain. She uses ceramic pigments and oxides but has also worked with screen printing on clay. She recently started working with applying mosaic in glass and marble in her sculptures.
Tove Tengå has been a member of Kaolin since graduating from Konstfack in 2016. She has a bachelor’s degree in ceramics and glass and works in Stockholm. Tove Tengå has shown her work in several group exhibitions and this is her first one-woman show at Kaolin.
Christmas at Kaolin 2019
Christmas at Kaolin 2019
MEMBERS EXHIBITING IN THE GALLERY