the Seeding | Sundaymorning@EKWC | 2019 - 2020

the Seeding is a series of ceramic objects that I developed during my residency at the European Ceramic Work Centre. For this new series, I'm exploring the possibilities of displaying the chemical potential of ceramic materials. As a starting point, I use my photographic procedure as a model to try and build similar worlds, using layers of crystalline glazes. This time, the formation, shapes and colours of the worlds are determined by heat, a specific ratio of oxides in the  recipes and the amount of layers in the claybody.
during my residency I came across an essay from Douglas Coupland in a book called 40 under 40, Craft Future. His proposal, to reclassify “contemporary craft” as art-objects that deploy craftsmanship as their medium, resonate strongly with my personal motivation to explore the material properties of ceramics.

[...]  There is one sabot to be thrown into the machinery of the curated twenty-first-century lifestyle, and this is craft. Craft?! Yikes! Spit take. Craft is not art. Craft is skill based. Craft is sentimental. Craft has no critical rigor. Craft means that a (one must grudgingly admit) creative person has chosen to limit his or her expression to one medium -one medium - in a post medium world where it is only the idea that is permitted to generate form [...] Since the realm of art began to strobe ad flicker with (video) installations, light-scapes, and soundscapes, isms of all sorts flourished and multiplied. To walk into a contemporary art museum anywhere on earth, one has now come to expect by rote, the walled-off room containing flickering and squawking images projected by a highly lumened digital projector, or empty floor space with perhaps some chalk outlines or a piece of string and...well.... The problem here is the word ‘rote’. Or, perhaps the problem is the phrase “come to expect”. One now often feels let down by the contemporary art museum unless it delivers to us a set of objects and experiences that feel like contemporary art – which is the exact opposite of what contemporary art is intended to be. Andre Breton wrote; “if your experience is not strange, then it is false”, and by this standard, many contemporary art institutions are on their way to becoming factories of falseness. And enter the next generation of craft: skill married with what seems to be critical rigor and a willingness that, in the presence of an increasingly arid conceptual realm, now feels almost radical. [...] One can look at some of the contemporary art being made and reclassify it by saying that rather than it being, it is folk art that uses modernist vernaculars as its medium. Similarly, one can reclassify some contemporary “craft” as art objects that deploy craftsmanship as their medium. It’s wordplay, but it’s increasingly more relevant wordplay.

Made possible with the generous support of  Fonds Kwadraat & EKWC