Julia Ellen Lancaster has become highly regarded for creating clay sculptures that are as complex as they are intuitive. For Phantasms and Frequencies, a solo exhibition held from 18 June – 5 July 2026 at the Liminal Gallery in Margate, UK, she created a painterly series of free-standing and wall-based sculptures that revel in the material possibilities of clay. These ceramic collages are produced out of free association: relationships between different recycled materials are realized in the process of creating each work. These discoveries suggest form which, in turn, encourage narrative. But what is the story that Ellen Lancaster is trying to tell?

For me, it is a story of both art history and technical process. Collage and free association are perhaps antithetical to ceramic practices which, usually, demand a rigorous testing of materials so that the final work can be somewhat anticipated. Yet, chance does exist in contemporary British ceramic practice, not least in works by male artists such as Gareth Mason and Nao Matsunaga. However, Ellen Lancaster’s formal vocabulary and use of material differ considerably from her male counterparts. This difference partly emerges from the foregrounding of a female corporeality, not to inscribe gender norms, but to assert a gendered subjectivity that resists subordination to patriarchal categories.

Situating Ellen Lancaster within a male history of art might begin with the modernist collages of Kurt Schwitters (1887-1948), whose merz works brought new kinds of found materials together in the creation of sculpture. Finding a genealogical relationship between Kurt Schwitters and British studio ceramic practices is not as fanciful as it might first seem. Schwitters escaped Nazi Germany to Britain via Norway, arriving in Leith in Edinburgh in 1940, being released from internment in 1941. He spent the last seven years of his life first in London, and then in the Lake District. His impact on British art during this time was limited but definite. Eduardo Palozzi (1924-2005) made no secret about his appreciation of Schwitters whilst he was at the Slade in 1946. As he later remarked:

Schwitters made his collages (most likely) according to the laws of chance – very much part of recent art history. Although one must retain the image of raw material – rejected rubbish such as used bus tokens – the dynamic part is the commitment of finally sticking down the objects. The excitement truly comes when the artist at that moment actually goes beyond his own preconceptions and aspirations.¹

Paolozzi, already a collagist when he became an art student in London in 1946, had become interested in Surrealism when he visited Paris in 1947². By the 1950s, he was making assemblages of objects, and by the 1960s, assemblages that included reference to both mechanised and everyday objects. By 1968, Paolozzi was teaching Ceramics at the Royal College of Art (RCA) at the behest of his close friend David Queenbury (Head of Ceramics,1959-1983) to position ceramics education beyond industrial design. Queensbury observed that Paolozzi:

wouldn’t give traditional advice. He wouldn’t say ‘Why does the handle on that cup have such a pedestrian angle?’ Instead he’d ask ‘Why do you need a handle on a cup at all? The Japanese don’t.’ He’d bring in portfolios full of the collage material he’d been working with, and hand it out to people. He could be very, very good for certain students, he was like a conjurer, he could pull a rabbit out of a hat.

Paolozzi’s years of teaching at the RCA did indeed widen out the frame of reference for studio ceramics, leading to a whole generation of artists, such as Alison Britton, Elizabeth Fritsch, Carol McNicoll (who collaged together moulded ceramic objects, often taken from everyday life), Magdalene Odundo, and Jacqueline Poncelet, who expanded pottery into the spheres of architecture, music, sculpture, and collage. Perhaps Ellen Lancaster’s work might be regarded as extending this lineage of innovative female ceramic artists from the 1970s into the twenty-first century. In some ways it does: after all, her approach follows the same ethos of ceramic interdisciplinarity that Queensbury instigated via Paolozzi.

However, there is an alternative narrative in Ellen Lancaster’s work that foregrounds how, in the twenty-first century, and in a reversal of the 1970s ethos at the RCA, fine art practices have extended into ceramics. Ellen Lancaster studied Environmental Media at the RCA, a course that connected choices of media with form, but which sat slightly apart from other courses in fine art and ceramics. Although some technical training came from attending evening classes at City Lit. in London, most of her techniques have been self-taught. This has not been a hinderance: Ellen Lancaster has participated in artist residencies in Tokyo (2017, 2018), followed by several more at the Leach Pottery in St Ives (2020, 2021), and then in Australia (2024). The emphasis on self-led technical discovery has produced a personal aesthetic which, like her educational experience, stands apart from those of her peers.

Furthermore, Ellen Lancaster’s background in fine art gallery management exposed her to a variety of artistic practices over a relatively long period. This has enabled her to locate her approach amidst the legacies of important twentieth-century female artists. Influences include the US-based artist Lynda Benglis, who has foregrounded the female body as a means to challenge patriarchy, automatism in the work of the under-appreciated British surrealist painter Ithell Colquhoun (1906-1988), and the German-born American sculptor Eva Hesse (1936-1970), who pioneered the use of new materials in her work, such as plastic and fiberglass. The assembling – collaging – of such influences enables Ellen Lancaster to position her practice as between two bodies of pioneering female artists: fine artists who have drawn upon surrealism, the body, and innovative materials, and the innovative generation of female ceramic artists who emerged from the RCA in the 1970s to embrace postmodernism and redefine ceramic form.

This somewhat paradoxical location of being neither in nor out of the worlds of fine art and ceramics allows Ellen Lancaster to turn things on their head. This is perhaps most obvious in the series of free-standing sculptures in Phantasms and Frequencies that use the form of the pot – either a vase or a bowl – as the basis for sculpture. This inversion of ceramic emphasis – where the pot is the starting point rather than the ending – allows the accumulation of clays and glazes to suggest new formal structures that are produced by the behaviour of material as well as the choices made by the artist. These forms are not pre-planned, but neither are they serendipitous; they are discovered in the collaging together of material, association, and expressive capacity, all of which are deployed according to the artist’s own feelings. Comprised of segments, the sculptures can be remixed by exchanging elements between them, or by the creation of new additional sections. This means that her sculptures retain an element of ‘liveness’, for they can be transformed into different versions at the whim of the artist. These works are indeed phantasms: fleeting personal experiences are caught in the solidity of clay but can be transformed at any moment.

Phantasms are also figments of the imagination, the illusion of order where there is none. In this respect, Ellen Lancaster explodes the phantasms of art categories which, although many might regard as redundant, nevertheless continue to reverberate around the politic of ceramic exhibition. The placement of ceramic works on the wall always invites a comparison with fine art, as though the dictum that craft is made for the table and fine art is made for the wall still holds true. Ellen Lancaster challenges such parochialism. It is as if the bleeding colours from sculptures such as Flare Field Frequency No. 176 are trying to escape the narrow conceptual art categories some might wish to accord to them.

However, frequencies are concerned with cyclical repetition, an important politic behind her work. Ellen Lancaster’s practice makes use of reclaimed glazes and recycled clays, an approach that minimises waste and contributes towards ecological sustainability. The redeployment of material is not only a technical choice, but a politic that can be read as contributing to the narratives of the work. If colour repetition equates to the recurrence of emotional states, and the recycling of material relates to the environment, then each work is an ecology that connects material to repetitions in nature, the seasons, and by extension, the cycles of the female body. Each sculpture expresses to us our own vantage points on and in the world. Divergent emotions are captured in the fabric of the ground we stand on: clay.

It is remarkably apt that Phantasms and Frequencies is being shown in the Liminal Gallery, for Ellen Lancaster’s works are themselves liminal. They oscillate between notions of place and location – geography, environment, the physical body, embodied sensation, technical logic, the material of clay – and the unfathomable unconscious – fleeting sensations, the unexplainable and unplanned, even the impossibility of fully comprehending the sensations that others feel in their bodies. These oppositions are connected by a further paradox: the artist’s decision to capture the transience of thought in the permanence of ceramics via works that can be made to change shape. Although the longevity of fired clay as a material means that these works will last, like any historical narrative, ceramics can be pulled apart and disrupted. The power of the work in Phantasms and Frequencies is that they have the capacity to politicise material. Ellen Lancaster’s sculptures tell a story of resistance to patriarchal categorisation and linear narrative.

Yet, the works will, and should, tell different stories to different people, even if I find that they assert a feminist take on art history and its relationship to the contemporary. Perhaps her work reveals that phantasms are all around us, and that we must challenge received interpretation. Naturally, this extends to the words I have written here. She demands that you look, and discover what can be seen, for yourself.

Ashley Thorpe is a writer, academic, and collector of studio ceramics.

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Photo credit: Monwar Hussain, @_studiomon

Fractured Foundations: 250 Years of American History is on view at the American Museum of Ceramic Art, Pomona, CA

June 27 – November 29, 2026

Fractured Foundations: 250 Years of American History is on view June 27–November 29, 2026 at the American Museum of Ceramic Art in Pomona, CA.

AMOCA’s exhibition Fractured Foundations coincides with the 250th anniversary of the founding of the United States. For this occasion, AMOCA invited ceramic artists to reconsider a historical event through the lens of contemporary art, challenging historical narratives and offering a more accurate perspective on our country.

The work selected for this exhibition demonstrates resilience, injustice, triumph, and the impact of federal, state, and/or local policies, while also reflecting upon or referencing an event in US history. Artists included are: Natalia Arbaelez, Lisa Cecere, Nuala Creed, Connor Czora, Chotsani Elaine Dean, Reniel Del Rosario, Morel Doucet, Marianna Haniger, Irvin Huang, Salvador Jiménez-Flores, Akinsanya Kambon, Cathy Lu, Roberto Lugo, Michele Martinez, Bianca MacPherson, Kristy Moreno, Mercy Neumark, Janet Neuwalder, Peter Olson, Alexis Oltmer-Bergmann, Vick Quezada, Jenny Rosen, Jos Sances, Nathan Stanfield, Kukuli Velarde, and Patti Warashina.

Remembering historical events is a form of resistance. Several artists choose to highlight important figures who refused erasure–the freedom fighters, poets, organizers, and community builders whose stories have been systematically marginalized. Others document struggles unfolding now: the rollback of reproductive rights, the targeting of LGBTQ+ people, the dismantling of equity programs, the expansion of immigration enforcement, and the erosion of constitutional norms.

As the United States marks the 250th anniversary of its founding, this exhibition asks what it means to celebrate a nation whose history is inseparable from contradiction. Art may not pass legislation or overturn court decisions, but it does make injustices visible. By naming what has been suppressed, honoring those who have resisted, and placing present-day threats within their historical context, these works call on viewers to move from witness to participant by engaging, advocating, and holding American democracy to account for all its people.

Executive Director Beth Ann Gerstein explains, “This exhibition refuses to let the past stay past. It addresses the distance between America’s founding promises and its lived realities, a gap that is not incidental but structural, not historical but ongoing. The work in this exhibition explores government actions across centuries and communities. The incidents explored here are not isolated episodes; they are a pattern of who is counted, who is protected, and who is expendable.”

Contact
info@amoca.org
909-865-3146

American Museum of Ceramic Art
399 N Garey Ave
Pomona, CA 91767
United States

Captions

• Fractured Foundations: 250 Years of American History exhibition banner
• Natalia Arbaelez, Rabado Ruru, 2026
• Alexis Oltmer-Bergmann, A Federal Portrait of the Occurrence of Superfund Sites in the USA (2024), 2024
• Exhibition view with a guest looking at Kristy Moreno’s Liberación, 2026.
• Vick Quezada, White Paint y Barro Quemado, 2026
• Exhibition view with Patti Warashina’s Tule Lake Retreat Redux in the foreground, and Chotsani Elaine Dean’s work in the background.
• Salvador Jiménez-Flores, A Hand Gesture to Systemic Racism: Al que le quede el saco que se lo ponga, 2021.
• Patti Warashina, Tule Lake Retreat Redux, 2026
• Morel Doucet, Still Here: A Twenty-One Gun Salute, 2026.
• Connor Czora, Pride Service, 2025
• Lisa Cecera, Tattered Democracy Flag Series, 2026 — individual work titled Morning Dew, January 7, 2021
• Marianna Haniger, Crumber, 2024.
• Roberto Lugo, Untitled (Harriet Tubman and Frederick Douglass), 2024.
• Jos Sances, Satchem Metacom, 2025.
• Cathy Lu, Red-White-Blue, 2019.
• Irvin Huang, You Have to Discard (detail), 2026.
• Michele Martinez, Tail(s) of Tears, 2026.
• Vick Quezada, White Paint y Barro Quemado (detail), 2026.
• Chotsani Elaine Dean, Timeline Strip Pieced Quilt: for Phillis Wheatley & Scipio Morehead…, 2025

Last month, we announced an open call for Ceramics Now Annual, a new flagship publication launching this December (when we also celebrate 16 years of Ceramics Now). Published in print and digital editions, the Annual will feature at least 20 artists selected through an international open call, with the digital edition free to read. Open to ceramic artists worldwide, the call has no fixed theme. Selected artists will receive a dedicated profile in the Annual, online and newsletter visibility, and permanent archival presence on Ceramics Now. We look forward to receiving your applications by September 15, 2026. Submission fee: $15.

The LOEWE FOUNDATION Craft Prize 2027 is now open for submissions, marking the 10th edition of the international prize dedicated to excellence, innovation, and artistic merit in contemporary craft. Artists aged 18 and over, of all nationalities, are invited to submit original, one-of-a-kind works created in the last five years, including ceramics and other applied arts. A shortlist of 30 finalists will be selected for an exhibition and catalogue in spring 2027, when the €50,000 prize will be awarded. Applications close October 15, 2026.

A-B Projects is inviting proposals for future State of Ceramics programs, an ongoing series of critical, collective conversations about ceramics and its relationship to the wider world. The call is open to artists, curators, historians, anthropologists, material researchers, teachers, and others working with unanswered questions in the field. Applicants are invited to propose a research topic and the questions they would like to explore with participants. The call is open year-round, with the next seasonal deadline on July 31 for programs taking place from September to December.

Wayne Art Center is inviting artists worldwide to submit work to CraftForms 2026, the 31st International Juried Exhibition of Contemporary Fine Craft. Open to media including ceramics, fiber, glass, metal, wood, mixed media, wearable art, and works using CAD/CAM or 3D printing, the exhibition will be held in Wayne, Pennsylvania, from December 6, 2026 to January 23, 2027. Juried by Dr. Robert K. Liu and Patrick Benesh-Liu, CraftForms 2026 will award over $12,000 in prizes. Submissions close September 9, 2026, with a $50 entry fee.

Artists based in the United States are invited to apply for Peters Valley’s Fall Guest Artist Residency Program (Layton, NJ), taking place in November 2026 with support from the Maxwell/Hanrahan Foundation. The fully funded residencies are open to artists working in blacksmithing, ceramics, fibers, jewelry/fine metals, wood, or printmaking, and offer two or three weeks of dedicated studio time. Selected artists receive a private room, unlimited access to fully equipped studios, and a stipend of $600 or $900, depending on the residency length. Applications close July 31, with a $10 application fee.

US-based artists are also invited to apply for the Box Factory Ceramics residency in Queens, New York. The program supports artists with three months of rent-free studio access in a shared, class-free environment designed for independent work. Resident artists receive 24/7 access to the studio and a personal storage shelf while working alongside the studio’s wider membership community. Materials and firing fees are not included. Applications are open from August 1 to October 31, 2026.

Congratulations to the winners of the 33rd Mediterraneo Contemporary Ceramics Competition in Grottaglie, Italy. The first prize was awarded to Christin Løkke from Norway, while the second prize, a solo exhibition, went to Paula Bastiaansen from the Netherlands. The Under 35 Artist Residency Prize was awarded to Jihuyn Kim from South Korea, and the newly introduced Grande Opera prize was awarded to Elena Buran and Chiara Marchegiani. The exhibition is on view until October 18, with guided tours also available.

ClayZieFest, a new international ceramics festival, will take place in Belgium from August 20–23, 2026, transforming a former industrial site into a multi-stage event dedicated to clay. Conceived as a ceramics festival with the energy of a music festival, ClayZieFest will bring together live demonstrations, performances, firings, workshops, talks, a partner area, and a market. The programme includes a Main Stage with large-scale demonstrations, Performance Stages where artists develop works over several days, and a Fire Stage for Raku and Naked Raku firings.

1001 Pots returns to Val-David, Quebec, from July 3 to August 16, 2026, for its 37th edition. Held in a lush garden setting in the Laurentians, just north of Montreal, the event is recognized as one of North America’s largest outdoor ceramics exhibitions. This year’s edition brings together more than 120 ceramic artists from Quebec and beyond, inviting visitors to discover a wide range of functional and sculptural ceramics, meet makers, attend demonstrations, and experience one of the region’s most beloved summer clay events.

Book recommendation: Temperatures Volume 4. Temperatures is an occasional publication about artists working with clay, with each 24-page issue dedicated to a single artist whose work advances the conversation around ceramic art. Volume 4 features Rob Raphael, an artist based in Brooklyn, whose porcelain sculptures bring together references to Etruscan artifacts, Italian Rationalist architecture, and the life and work of Corrado Cagli. The issue presents Raphael’s recent works alongside research, images, and selected excerpts from D. H. Lawrence’s Etruscan Places. Published in an edition of 200, and available for $20.

Farmhouse Pottery in Woodstock, Vermont, is hiring a Production Potter for a full- or part-time position. The role includes production throwing, customer interaction in the open studio, and teaching wheel workshops. / The School of Art within the College of Visual and Performing Arts at Syracuse University (New York) invites applications for a Visiting Assistant Teaching Professor – Ceramics, to begin Fall 2026.

Exhibitions

Discover these ceramic exhibitions that were recently featured in Ceramics Now.

• RESPONS! Norwegian Ceramics 1975–2026 at the Center for Ceramic Art Ringebu, Norway
• Subconscious Surfaced at Moderne Gallery, Philadelphia
• Mia Akrap: Stronger Than Bone at TROTOAR Gallery, Zagreb
• Moon Jar; An Axis at Gallery LNL and the Korean Cultural Centre, Sydney
• Anna Milczanowska: Blooming. A Story About Earth at Craftica Gallery, Warsaw
• Intersections: Craig Underhill and Kate Wickham at Kellie Miller Arts Gallery, Brighton
• Nancy Bowen: From A to Z and the Bodies In Between at Nunu Fine Art, New York
• Chidi Ukwuoma: Containing Matter at Matter Studio Gallery, Los Angeles

What’s on View

A selection of ceramic exhibitions currently on view around the world.

1. Aneta Regel: Beneath the Skin at Sarah Myerscough Gallery, London
2. Josh Cloud: Sunken Bust Shimmering Stone at Megan Mulrooney, Los Angeles
3. Sukanjana Kanjanabat: Threaded into Porcelain at ARDEL Gallery of Modern Art, Bangkok
4. Xanthe Somers and Yacout Hamdouch: Poetic Threads at October Gallery, London
5. Odyssée de L’Imaginaire at Centre Céramique Contemporaine de Giroussens, Giroussens
6. Beneath the Surface: A Century of Studio Ceramics in Britain at Museum & Art Swindon, Swindon
7. Générations Céramiste vol. 16 at Maison de la Céramique du Pays de Dieulefit, Dieulefit
8. Wiener Keramik Edition at Academy of Ceramics Gmunden, Gmunden
9. Dry Land at Hecho a Mano, Santa Fe
10. Tanisha Murphy: Audra at Adamah Gallery, Columbus

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Featured image – Aneta Regel: Beneath the Skin at Sarah Myerscough Gallery, London

Anna Milczanowska: Blooming. A Story About Earth is on view at Craftica Gallery, Warsaw

June 24 – August 5, 2026

Craftica Gallery is pleased to present Blooming. A Story About Earth, a solo exhibition by Anna Milczanowska, whose pit-fired ceramic sculptures explore questions of growth, transformation, and material memory. Bringing together a new body of ceramic forms alongside a large-scale suspended installation, the exhibition considers “blooming” not as a fleeting moment of fulfillment but as a continuous condition of becoming.

Trained as an art historian before turning toward artistic practice, Milczanowska approaches ceramics not primarily as craft but as a sculptural language through which questions of embodiment, temporality, and ecological interdependence may be addressed. Working with clay sourced from Silesia and firing her works in earth pits near her hometown of Pszczyna, the artist treats earth and fire as active collaborators. The resulting objects bear the traces of elemental processes: markings left by combustion, mineral variation, and plant matter become part of their final surfaces, rendering each work singular.

The exhibition centers on a series of large approximately seventy centimeters high, these forms maintain a scale that remains close to the body–present yet never overwhelming. Their unglazed surfaces reveal the structure of the clay and preserve the evidence of touch, allowing the material to retain both its physical immediacy and the memory of its making.

At the heart of the exhibition lies a reflection on the very notion of blooming. The metaphor of a flower is often used to describe the successive stages of a woman’s life: growth, blossoming, maturity, and decline. Yet what takes place in the natural world does not easily translate into human experience. Blooming is a stage of growth suspended somewhere between beginning and end. The sequence of events contained within the word itself carries distinctly positive connotations.

In Milczanowska’s work, blooming is not a singular moment but an ongoing process of transformation. A flower may bloom only once, yet a person remains in a constant state of becoming. Growth, fulfillment, and renewal do not occur just once; they return in different forms throughout life.

A woman remains in a state of continuous transformation;
blooming and bearing fruit are not the culmination of her journey,
but merely one of its stages.¹

The subtitle, A Story About Earth, refers both to the material substance of the works and to the place from which they emerge. Earth appears here not as a passive resource but as an active participant in the creative process. It receives fire, retains heat, and returns these encounters as traces inscribed across the surfaces of the sculptures. Milczanowska approaches figures such as earth, mother, and woman not as fixed symbols but as relational and processual forms through which interconnectedness may be understood. Earth becomes a metaphor for continuity, transformation, and mutual dependence rather than for linear narratives of origin and decay.

The theme of growth also extends to the artist’s own practice. The works emerge from a sustained process of creating space for artistic work, confronting material limitations, and committing to a path that often requires perseverance. The upward-opening forms can be understood as records of this experience -manifestations of maturation not as movement toward completion but as a condition of ongoing development.

Milczanowska constructs her sculptures using the coil-building technique, which she continues to develop at an increasingly ambitious scale. The largest forms weigh approximately fifty kilograms and require careful negotiation between gravity, structure, and drying time. Once completed, the pieces are fired in deep pits excavated in the earth. During firing, plant matter is placed over the surfaces, leaving unpredictable marks, tonal transitions, and discolorations as it burns. The final appearance of each work remains partially beyond the artist’s control, preserving a dialogue between intention, material, and environment.

The firing process itself forms an important part of the work. Family and friends regularly gather around the fire, often tending to it throughout the night. These communal encounters evoke older traditions in which labor and social life were closely intertwined.

Gatherings around the fire form an essential and inseparable
part of the creative process.²

The works therefore carry traces not only of earth and fire but also of the relationships and shared experiences that accompany their making.

An integral component of the exhibition is Rosa (Dew), a large suspended installation composed of thousands of hand-formed clay beads. Fired using the same pit-firing process as the vessels, the beads range in tone from pale whites to deep blacks and are connected by hand into a vast woven structure inspired by traditional net-making techniques. Many of the beads were created not only by the artist but also by family members and friends invited to participate in the process, extending the collaborative spirit of the firings into the exhibition itself.

Suspended on linen and transparent filaments, the structure descends through the gallery in soft cascading formations. From a distance it appears almost weightless; up close, the density of its ceramic elements becomes apparent. Evoking root systems, hanging vegetation, and organic networks, the installation transforms the gallery into an environment shaped by accumulation, interdependence, and growth.

Together, the sculptural vessels and suspended installation form a meditation on growth, transformation, and the enduring relationship between body, material, and environment. Through Blooming. A Story About Earth, Anna Milczanowska proposes a vision of blooming not as a temporary state but as a continuous mode of existence.

The exhibition will be accompanied by a curatorial text by Maria Cristina Didero, an internationally acclaimed curator, author, and design scholar. Former Curatorial Director of Design Miami–the first Italian curator to hold the position–Didero is recognized for her research-driven approach to contemporary design and her ability to situate emerging practices within broader cultural and intellectual contexts. Her contribution to Blooming. A Story About Earth offers an additional perspective on Milczanowska’s exploration of materiality, transformation, and contemporary notions of growth.

Biography
Anna Milczanowska (b. 1985, Poland) is an art historian turned artist whose practice centers on pit-fired ceramic sculpture. Characterized by the use of natural materials and a deep engagement with every stage of production, her work explores the relationship between material process, environmental consciousness, and sculptural form. Working in accordance with zero-waste principles, she approaches earth and fire as co-creators, allowing elemental forces to participate directly in the formation of each object. Her works are distinguished by their austerity, primal simplicity, and the rich tonal qualities of the clay from which they are made.

Anna Milczanowska’s works were presented at the Salon Art + Design fair in New York in November 2025. Her practice continues to expand the boundaries of contemporary ceramics, positioning the medium as a site where material experimentation, ecological awareness, and sculptural inquiry converge.

Contact
contact@craftica.gallery

Craftica Gallery
Ordynacka 11
00369 Warsaw
Poland

Photos courtesy of the artist and Craftica Gallery

Curatorial text by Maria Cristina Didero / Graphics by Lange & Lange / Scenography by Wojciech Cichecki / Photography by Mood Authors / Text edits & works production by Mania Zyzak

Mia Akrap: Stronger Than Bone is on view at TROTOAR Gallery, Zagreb

June 10 – September 5, 2026

Curator: Gabriella Rebello Kolandra

Trotoar is pleased to present Stronger Than Bone, a new solo exhibition by Mia Akrap. Working across ceramics, sculpture, and installation, Akrap draws on autobiography, memory, and feminist perspectives to explore questions of inheritance, motherhood, and the transmission of emotional and behavioural patterns across generations. Through recurring motifs such as water, hair, fragmented bodies, and animal forms, she constructs a personal mythology in which subjectivity emerges through the tension between intimate experience and broader social histories. In this new body of work, ceramic vessels and fountains become carriers of memory and transformation, evoking both ancient iconographies and contemporary forms of embodied experience. Moving between tenderness and rupture, Stronger Than Bone reflects on how inherited structures are negotiated, resisted, and reshaped through material, gesture, and form.

Mia Akrap (Požega, 1995) draws on her own life as her primary material. The works presented here are new, produced for her first solo show at Trotoar Gallery, and engage with questions of relationality, trauma, and autobiography. Although the exhibition does not include paintings, the artist’s primary medium, it nevertheless reflects a sustained commitment to it. Akrap’s confessional approach translates her inner emotional and psychological landscape – memories, affects, and personal experiences – into a body of work that is at once intimate and resonant beyond the individual. The exhibition firmly situates her practice within a broader feminist discourse.

In an artistic landscape where production is frequently outsourced to specialised artisans and services, Akrap places emphasis on engaging with different stages of the process, often over extended periods of practice. A visit to her studio, located on the ground floor of a residential building in Zagreb, provides a clear measure of this approach: the space is organised to accommodate a range of processes, reducing the need for external assistance while remaining flexible in its modes of production. Akrap’s practice develops in close proximity to her experience of motherhood, and these dimensions inform and permeate one another.

The works presented in Mia Akrap: Stronger Than Bone are structured as a personal mythology, articulated through an iconographic system in which recurring motifs – water, hair, cords, animals, and fragmented bodies – operate as carriers of memory. Central to her practice is an investigation into the transgenerational transmission of memory and behavioural patterns, approached as a field of inquiry. Understood as embodied structures that persist across a family lineage, in her case along a female line, these processes are engaged from within, as sites where inherited experiences are negotiated, reworked, and also resisted. Subjectivity emerges through this tension, taking shape where personal memory and socio-historical conditions converge.

The title of the show draws on two distinct yet related references. One is the artist Theresa Hak Kyung Cha’s experimental 1982 book Dictée. Difficult to classify, the work operates at the intersection of autobiography, historiography, and literary experiment, incorporating techniques drawn from film editing. Published shortly before Cha’s premature and violent death, Dictée foregrounds a constellation of historical and mythological women, including the Korean independence activist Yu Guan Soon, Joan of Arc, and Demeter and Persephone. A second point of reference emerges in the poetic essay “Rain Dreamed by Sound: Reading Theresa Hak Kyung Cha” by artist Cecilia Vicuñ a, published as a contribution to Minds Rising, the online platform of the 13th Gwangju Biennale, curated by Defne Ayas and Natasha Ginwala. Vicuñ a approaches Cha’s work through a poetics of sound and transmission, where language persists beyond the written as vibration and resonance across time.

At the opening of Dictée, Cha includes an epigraph attributed to Sappho:
May I write words more naked than flesh,
stronger than bone, more resilient than
sinew, sensitive than nerve.

Rather than citing a historical fragment, Cha produces a deliberate fabrication invoking the ancient Greek poet from the island of Lesbos: her referent is not a quotation by Sappho but the very idea of the poet, which evokes fragmentation on multiple levels.

Akrap’s ceramic works operate through a comparable displacement of origin. While their scale and form recall ancient vessels, they do not function as citations; they open up a space in which genealogy is reconfigured as a relational system structured through forms, figures, and motifs.

The assembly of multiple vessels into a single body further stratifies this structure, producing a field of possible readings, and recognition shifts from one fragment to another, without privileging a single point of view. This non-hierarchical mode of viewing is reinforced by the circular form of the vessels themselves, which resists linear interpretation and instead suggests a continuous movement across the surface.

Water operates as a central element within the exhibition, taking its most explicit form in two fountains, Spring of Phantoms and Spring of Abundance. They extend an earlier series of works centred on motherhood, approached as a process of reconfiguration.

Their development was accompanied by an investigation into historical fountains, particularly the lactating fountains of Italy, which inform their framework. In sixteenth-century Mannerist visual culture, lactating nereids, sirens, and goddesses figure as emblematic forms through which Nature is rendered as a generative body associated with protection and fertility. Spring of Abundance looks also to the compositional structure of The Garden of Earthly Delights by Bosch, where the fountain appears as a site of excess and cyclical
life. In Spring of Phantoms, the vertical sequence of female heads articulates a form of inheritance that is both material and affective. The “phantom” designates inherited emotional traces and unresolved experiences that persist across generations. Read in relation to Marianne Hirsch’s concept of postmemory, the fountains frame inheritance as a process through which experience is transformed and, at times, distorted.

In works such as Girl with Lilies, where transmission precedes articulation, a similar condition emerges. The figure occupies a threshold in which subjectivity is already structured by inherited roles. The lily introduces a codified iconographic field tied to purity and an idealised femininity, functioning as a sign imposed in advance of choice, one that positions the subject within a system of representation before it can be negotiated. In Stronger Than Bone #3 (Blue Vase with Braid), where this structure is no longer only internalised but acted upon, the gesture of cutting the braid marks a position within a system that continues to impose form.

Akrap’s practice unfolds in dialogue with a broader constellation of practices. Stronger Than Bone draws on forms of embodied strength that traverse historical and contemporary subjectivities across generations and geographies. Origin appears only as construction.

About the Artist:
Mia Akrap (Požega, 1995) graduated from the Academy of Fine Arts in Zagreb in 2020, where she is currently undertaking her postgraduate studies. She works primarily in the fields of painting and ceramics, and through her practice she explores questions of identity, personal and collective experience, transformation, and transgenerational legacies. Her work focuses on the processes of memory, the build-up of layers of experience and archetypal models, in which materiality and form become bearers of symbolic and affective meanings.

She has held solo exhibitions at the Kazamat Gallery (Osijek, 2023), Poola Gallery (Pula, 2023), the B. Dešković Art Gallery (Bol, 2023), the Karas Gallery (Zagreb, 2022) and the Šira Gallery (Zagreb, 2020), among others. She has participated in numerous group exhibitions, including Od Y do Z – Gradilište nove generacije (National Museum of Modern Art, 2025), the 37th Youth Salon (Archaeological Museum, 2024), the Biennale of Painting (2023, 2025), the 36th Youth Salon (2022), the 6th Biennale of Painting (2021), Matrice: botanika (SC Gallery, Zagreb, 2021), the 16th Erste Fragments exhibition (2020), Venientes (the 35th Youth Salon, 2020), and the 8th Watercolour Triennale (Art Gallery of the City of Slavonski Brod, 2019).

She was awarded the Canvas Gallery Prize at the 7th Biennale of Painting (2023), the “Collector to Artist Award” at the 36th Youth Salon (2022), and the People’s Choice Award at the 16th Erste Fragments competition (2020). She has been on several art residency programs in France, Germany, and Lithuania, and as part of her Erasmus+ placement she spent time in Germany. Her works are part of the collection of the National Museum of Modern Art in Zagreb, and private collections. She lives and works in Zagreb.

About the curator:
Gabriella Rebello Kolandra is an independent curator currently based in Milan, Italy. Her practice spans curating, writing, and research, focusing on the construction of supportive contexts for artistic practices not exclusively oriented toward market-driven logics of legitimation, but attentive to processes and the conditions of artistic labor. From 2022 to 2025 she was Assistant Curator at ICA Milano, and since 2026 she has been collaborating with the Centro per l’Arte Contemporanea Luigi Pecci in Italy as part of Supertoscana, a residency program for artists and curators. In September 2025 she was awarded the Meridiana Prize for curators, promoted by the Madre Museum in Naples, Italy. Recent curated exhibitions include Santa do pau oco (Anna Maria Maiolino, Maria Luce Cacciaguerra, Clarissa Baldassarri) at Madre Museum, Naples; Margherita Moscardini: Super Super, at Platea, Lodi; Isabella Costabile. Whose is this? at ICA Milano, Milan; Vashish Soobah: Chez moi and Rebeca Pak: Terriccio Universale, at Platea, Lodi, among others.

Contact
info@trotoar-galerija.hr

TROTOAR Gallery
Mesnička 7
Zagreb
Croatia

Photos by D. Žižić. © Trotoar Gallery

From September 18 to November 1, 2026, the 13th edition of the Gyeonggi Ceramics Biennale unfolds across Gyeonggi Province, South Korea’s historic heartland of ceramics. Anchored in Icheon, Gwangju, and Yeoju—three cities closely tied to clay, kilns, and ceramic production—the Biennale has, since its founding in 2001, become one of the most established international platforms dedicated to ceramics. Under the artistic direction of Daehyung Lee, the 2026 edition proposes a shift in how ceramics is understood: not simply as an object made by human hands, but as the result of an ongoing collaboration between human intention, material agency, environmental conditions, and planetary time.

The title, Earth Makes, functions as both proposition and provocation. It asks what changes when clay is no longer understood as a passive material awaiting artistic control, but as an active collaborator in the making of form, meaning, and memory. Heat, gravity, moisture, pressure, minerals, weather, and chemical transformation are not secondary conditions surrounding ceramic production; they are part of the work’s authorship. To work in clay is always to negotiate with forces that exceed complete control. Clay shrinks, cracks, slumps, stains, absorbs moisture, and hardens through fire. It records touch, yet also resists it. It carries geological time within it while remaining one of the most intimate materials through which humans have shaped daily life, ritual, architecture, and artistic imagination.

Rather than treating ceramics primarily as a category of object, style, or national tradition, Earth Makes proposes it as a living field in which material transformation, social history, ecology, and future imagination converge. The main exhibition, held at the Gyeonggi Museum of Contemporary Ceramic Art in Icheon, brings together artists working across sculpture, installation, moving image, sound, participatory projects, and experimental material research. Across these practices, clay appears not only as substance, but as witness, archive, architecture, sensor, and speculative medium.

The exhibition unfolds through three chapters—Made from Earth, Made by Earth, and Made in Earth—which move from the elemental behaviour of matter to the social and historical life of land, and onward to planetary futures, technology, and intergenerational responsibility. Together, they frame ceramics as a medium that is both grounded and expansive: attentive to the physical realities of clay while opening onto questions of labour, memory, migration, ecology, and the future of material culture.

A Biennale Rooted in Place

The Gyeonggi Ceramics Biennale is inseparable from the region that sustains it. Gyeonggi Province has long been an important foundation for the history of Korean ceramics, and the Biennale’s three host cities—Icheon, Gwangju, and Yeoju—each carry distinct ceramic identities. Icheon is known as a living ceramics city where master artisans, studios, festivals, and contemporary ceramic production continue to thrive; Gwangju is deeply associated with the royal kilns of the Joseon dynasty and the history of Korean white porcelain; and Yeoju has developed around everyday wares, ceramic industry, and a culture of functional ceramics embedded in daily life.

By unfolding across these three sites, the Biennale situates contemporary ceramics within a region where ceramic history remains embedded in landscape, industry, pedagogy, and local identity. Earth Makes does not present ceramics as an abstract global category detached from place, but as a medium inseparable from local soils, water, labour systems, and material traditions. At the same time, it refuses to reduce ceramics to heritage alone, staging a conversation between Korean ceramic histories and a wider international field of contemporary practice.

Chapter 1 Made from Earth

The first chapter, Made from Earth, focuses on clay and ceramics as active materials. Rather than approaching ceramic works solely as finished objects, it foregrounds the elemental processes through which matter is shaped: drying, cracking, collapsing, hardening, firing, shrinking, staining, and transforming. Water, fire, gravity, pressure, and chemistry are treated not merely as technical variables, but as co-producers of form. What emerges is a view of ceramics as a field of unstable collaboration, where intention and accident remain deeply entangled.

Rather than asking clay to obey a predetermined design, the artists in this chapter work with its capacity to respond, resist, collapse, and transform. Their practices foreground process, contingency, and bodily encounter, drawing attention to the moment when matter begins to exceed the artist’s hand.

In William Cobbing’s work, clay becomes an extension of the body and a site of elemental metamorphosis. His practice often stages encounters between the human figure and unstable material states: bodies submerged in clay, heads transformed into vessels or landscapes, surfaces that oscillate between skin, earth, and mask. Clay does not simply depict transformation here; it performs it.

A different but equally significant material intelligence appears in the work of Chang-Ho Kim, whose practice draws from the traditions of Korean Onggi. Onggi jars are functional objects designed to breathe, ferment, store, and endure, and their porous materiality is inseparable from systems of food preservation, climate adaptation, and communal life. In Earth Makes, Kim’s work foregrounds a longstanding understanding of clay as a living, responsive medium—one whose behaviour matters as much as its form.

Chapter 2 Made by Earth

If the first chapter approaches earth as matter, Made by Earth shifts attention to earth as ground: land, environment, territory, memory, and social field. Here, ceramics moves beyond the studio object and enters questions of migration, architecture, conflict, labour, habitation, and the histories embedded in soil. The chapter proposes that we are not only making with earth; we are also made by it—by the places we inhabit, the materials available to us, the landscapes that shape daily practices, and the political histories sedimented into land itself.

This is where Earth Makes becomes most explicitly historical and geopolitical. Clay and soil are approached as carriers of memory, holding traces of extraction, cultivation, ritual, displacement, violence, and repair. The artists gathered in this chapter explore how ceramics might register the relationship between place and identity without reducing either to stable essence.

Elena Khurtova’s investigations into soil as sculptural and historical material are particularly resonant in this context. Her rammed-earth forms present soil not simply as substance but as a compressed body of memory—local matter capable of holding stories of division, ecology, and time. In Korea, her work takes on particular urgency through its engagement with soil from the DMZ and border regions, where the land carries histories of war, separation, and military occupation alongside traces of ecological regeneration formed in the absence of human intervention. The participatory process further extends this material history, transforming soil from a site-specific substance into a shared act of remembrance, repair, and collective making.

The chapter also considers ceramics in relation to vernacular architecture, craft memory, and the aesthetics of dwelling. Earth has historically functioned as wall, floor, vessel, kiln, and shelter; it is not only the source of ceramic objects but also the substance of built worlds. Within this chapter, the special project Wind, Light, Earth brings Korean architectural and ceramic traditions into dialogue with questions of landscape, seasonality, and dwelling. Created through a collaboration between architect Youngchul Jang, who built the Hanok(Traditional Korean house) pavilion Piljeong, and Buncheong ceramic artist Sungjae Choi, the project turns toward forms of beauty shaped by land, seasonality, and ways of dwelling. Through wind, light, earth, architecture, and fired clay, it considers landscape not as something fixed or owned, but as something temporarily borrowed, inhabited, and shared.

Chapter 3 Made in Earth

The third chapter, Made in Earth, turns toward the future. Following Made from Earth, which foregrounds the agency of matter, and Made by Earth, which considers the social and historical life of land, this final chapter situates ceramics within a wider horizon of planetary time, ecological crisis, digital technology, and intergenerational responsibility. It asks how clay might carry memory forward, how ceramics might imagine possible futures, and how one of humanity’s oldest technologies can remain urgent in a world increasingly shaped by screens, synthetic interfaces, algorithmic systems, and the gradual erosion of tactile knowledge.

This future-oriented inquiry is grounded in the material history of ceramics itself. Ceramics has always existed between durability and fragility, utility and ritual, ruin and survival. It is also one of the materials through which human history has most often endured: fragments of vessels, tiles, figurines, and fired clay surfaces that remain long after empires have disappeared and organic matter has decayed. Made in Earth extends this archaeological logic into the future. Rather than treating ceramics only as evidence of what has survived from the past, the chapter considers it as a medium for future memory: a way of leaving traces, transmitting messages, and imagining worlds not yet here.

This future-facing proposition finds one of its clearest forms in Dear Future, the chapter’s special project bringing together representative student artists from 28 ceramic departments across Korea. Conceived as a proposal to send “assets of the Earth” one hundred years into the future, the project invites young artists to think of ceramics as a time capsule: a medium through which present-day values, anxieties, ecologies, and hopes can be transmitted beyond their immediate moment.

The work of LEE Wan also resonates strongly within this chapter’s concern with technology and cultural memory. For the Biennale, LEE collaborates with ceramic artist Seongman Ahn to revisit his work Treasure through 3D scanning and ceramic printing technologies, rematerialising cultural heritage data through clay. Here, replication becomes more than reproduction; it raises questions about what is preserved, who owns it, and how cultural memory is transmitted. Ceramics thus becomes not simply a medium for preserving the past, but a means of reconfiguring the future.

Other works in Made in Earth consider how ceramics intersects with contemporary technology, sensory experience, and nonhuman communication. Known for interactive installations that activate relationships between touch, sound, presence, and sensory exchange, Scenocosme invites visitors to communicate with plants and trees through physical contact—touching, embracing, listening, and sensing. Their work expands the Biennale’s understanding of ceramics into the realm of responsive environments, where human bodies, natural forms, sound, and tactile perception become part of a shared field of interaction.

Focus Australia and a Wider Ceramic Conversation

One of the defining features of the 2026 Biennale is Focus Australia, with Natalie King as commissioner. A curator with extensive experience across the Asia-Pacific region, King curated the Australian Pavilion at the 2017 Venice Biennale, the New Zealand Pavilion in 2022, and the Timor-Leste Pavilion in 2024, and has long worked with Australian and First Nations artists. Rather than presenting Australia as a conventional national showcase, the platform places Korean ceramic discourse in dialogue with Australian and First Nations practices shaped by land, environment, community, and local material knowledge.

The section is represented by three artists and collectives: Hermannsburg Potters, Yasmin Smith, and Renée So. Smith’s practice, which often engages foraged materials, smoke, ash, and site-responsive processes, expands ceramics into an ecology of environmental encounter. Hermannsburg Potters present a ceramic language grounded in Country, storytelling, memory, and communal making. Renée So’s practice, meanwhile, draws on ceramic histories, ancient forms, and cross-cultural references to reconsider the relationship between vessel, figure, ornament, and identity. Together, these practices open a comparative field in which ceramics is understood not only through form or technique, but through land stewardship, ecological relation, cultural memory, and material imagination.

Within the context of Earth Makes, Focus Australia extends the Biennale’s central question—how the Earth participates in making—toward questions of Country, ancestral knowledge, ecology, storytelling, and the movement of forms across cultures.

Across Three Venues

While the main exhibition forms the conceptual core of Earth Makes, the Biennale extends far beyond a single display. Across Icheon, Gwangju, and Yeoju, the 2026 edition includes special exhibitions, the international competition, the Kids Biennale, markets, artist workshops, talks, and community programs, as well as forums that position ceramics within wider conversations around ecology, media, material research, architecture, design, and future education.

This expanded format matters because contemporary ceramics is increasingly being redefined by its permeability—its ability to move between disciplines, institutions, and audiences. At the Gyeonggi Ceramics Biennale 2026, ceramics is not confined to the white cube or the vitrined object. It appears instead as installation, workshop, moving image, social practice, student collaboration, sensory environment, and public discussion.

Ceramics as Archive, Witness, and Proposition

At its heart, the Gyeonggi Ceramics Biennale 2026 asks a deceptively simple question: what if ceramics are not made by human hands alone, but by the Earth itself? The strength of Earth Makes lies in the fact that it does not impose a single answer to this question. Instead, the Biennale brings together moments in which clay can be encountered as active matter, social witness, architectural memory, ecological record, and future archive, opening a new field of thought around ceramics.

Here, ceramics is proposed not simply as a medium to be celebrated or preserved, but as a way of rethinking the world. How does matter transform? What kinds of relationships unfold between human and nonhuman beings? What stories are inscribed in land? And what kinds of futures are already being shaped by the ways we treat matter and environment? Through these questions, Earth Makes repositions ceramics within the urgent conditions of ecological crisis, technological acceleration, and renewed attention to the politics of land and labour. Ceramics appears here not as a nostalgic medium of tradition, but as a compelling language for thinking about what it means to live on a damaged, changing, and still generative Earth.

In that sense, Earth Makes is not only a title. It is a curatorial proposition about authorship, responsibility, and relation. Clay is no longer simply what we shape. It is also what shapes us—what remembers through us, transforms with us, and asks what kinds of futures we are willing to pass on.

Artistic Director

Daehyung Lee is Artistic Director of the Gyeonggi Ceramics Biennale 2026 and Director of Hzone. He has directed major international projects including CONNECT, BTS and the Korean Pavilion at the 2017 Venice Biennale, and is currently leading large-scale site-specific installations in the Shinan Art Island Project with Antony Gormley and Yukinori Yanagi.

Participating Artists

atelierJAK (Korea/Germany), Birender Kumar Yadav (India), Chang-Ho Kim (Korea), Elena Khurtova (Russia), Hanna Chang (Korea), Hermannsburg Potters (Australia), Junmyoung Kim (Korea), Karla García (Mexico), Kiyoul Cha (Korea), Kleinian (United States), LEE Wan (Korea), Lorie Ballage (France), Maja Quille (Denmark), Megumi Naitoh (Japan), Myung-Joo Kim (Korea), Paul C. (Korea), Renée So (Hong Kong), Scenocosme (France), Seongman Ahn (Korea), Serin Oh (Korea), Seungmo Park (Korea), Sungjae Choi (Korea), Syyoung Kim (Korea), Varvara & Mar (Estonia/Spain), William Cobbing (United Kingdom), Yasmin Smith (Australia), Youngchul Jang (Korea), Youngkak Cho (Korea), and 28 emerging artists from Korean universities.

Gyeonggi Ceramics Biennale 2026

Dates: September 18 – November 1, 2026 (45 days)

Locations:
● Gyeonggi Museum of Contemporary Ceramic Art (Icheon)
● Gyeonggi Ceramic Museum (Gwangju)
● Gyeonggi Museum of Ceramic Design (Yeoju)

Key events:
● VIP opening: September 17
● Public opening: September 18
● Workshops & public programs: September 18–November 1
● Forum: September 19
● Australian Culture Day (Focus Australia-related event): October 11 (exact date TBC)

Contact: contact@gcb.kr

www.gcbiennale.org

Posted on July 10, 2026

Location: Woodstock, VT
Type: Full or Part Time Positions Available
Salary Range: $20 – $22/ hour

Primary Responsibilities:
• Production Pottery
• Customer Interactions
• Wheel Workshops

Production Pottery:
• Throw, hand build and finish the assigned pottery pieces in a timely manner at our standing wheels
• Maintain the finesse of each piece while striving to throw more efficiently to maximize quantity and quality of production run
• Train alongside the master potters to achieve consistency across the product line
• Maintain a clean and safe studio environment by adhering to our cleaning procedures and schedules
• Once trained, load and unload kilns on a regular or rotating basis
• Studio potters are a part of the overall production process and team – as part of the production team, there may be a need to help within different areas of the department: glazing, waxing, etc.
• Any other duties as required

Customer Interactions:
• Embracing the open studio and responding to customer questions and comments appropriately and with enthusiasm
• Educating the customer about the Farmhouse Pottery brand and production technique
• Maintaining tidy work space during open studio hours to improve customer experience

Wheel Workshops:
These are personal workshops with our potters where we teach participants how to throw pottery and guide an interactive experience. Guests get the chance to create their very own artisan souvenir which we finish and ship to them. Workshops are available twice a day and are assigned to our master potters on a rotating basis.

• Upon completion of proper training, teach wheel workshops as scheduled to the FHP standard
• Set up and break down of wheel workshop equipment and supplies
• Fill out wheel workshop paperwork properly and write thank you card
• Trim and finish workshop pieces and get them in queue for the kilns

Requirements:
• Prior throwing experience; candidates will show their wheel skills in an interview
• Strong communication and interpersonal skills
• Attention to detail
• Willingness to work 40+ hours a week, possibly including weekends

Physical Requirements:
• Frequently carry, raise or lower objects up to 40 pounds from one level to another regularly
• Remain on feet in upright position for continuous periods of time
• Walk throughout building, including up and down stairs and outside
• Exerting force up to 40 pounds on a regular basis so object is moved towards or away from team member
• Good hand-eye coordination and hand strength
• Regularly reaching for, grasping and/or picking up objects
• Bending forward by bending at waist or bending legs and spine

We participate in E-verify.

How to apply
Email resume and cover letter to hr@farmhousepottery.com

In August 2026, Belgium will become the beating heart of the international ceramics community. From 20 to 23 August 2026, a former industrial site will be transformed into a vibrant, multi-stage festival where fire meets form, creativity meets craft, and artists from around the world gather to celebrate one of humanity’s oldest and most tactile art forms: clay.

This is ClayZieFest: a bold new festival concept that brings the passion, energy, and community spirit of a music festival into the world of ceramics.

A New Kind of Festival for a Timeless Material

For decades, ceramics has often lived quietly in studios, classrooms, galleries, and workshops, deeply appreciated by those who understand its beauty, patience, and technical demands. ClayZieFest aims to shift that perception.

Here, ceramics takes center stage. It becomes live, physical, spectacular, and shared. “ClayZieFest is like a music festival, but for ceramics,” the organizers explain. “There are multiple stages, artists working simultaneously, and visitors are free to move between them, discovering new techniques, styles, and personalities at every turn.”

The result is a four-day experience that blends the intimacy of a ceramic studio with the energy of a live performance. It is immersive, interactive, and unique in Europe.

3 Stages, Endless Creativity

ClayZieFest is built around five key areas, each highlighting a different side of the ceramic process.

The Main Stage

The beating heart of the festival, the Main Stage will host large-scale demonstrations by international ceramic artists. Multiple camera angles and live projections on giant screens allow the audience to see every detail of the artist’s hands as they work.

Each session runs for several hours and combines technical explanation with the visual power of live making. In the evenings, the Main Stage comes alive with Back-to-Back Challenges, where artists push their creative boundaries in spontaneous, high-energy sessions.

The Performance Stages

On the Performance Stages, visitors can come close to the action. Artists create ambitious works over several days, allowing the audience to witness the full evolution of a piece, from a simple mound of clay to a monumental form.

Unlike traditional exhibitions, these performances are raw, real, and often unpredictable. Visitors can ask questions, observe techniques up close, and watch pieces grow and change in real time.

One of the highlights will be the creation of a large-scale Onggi vessel by Korean master Kwak Kyungtae, bringing the rhythm, strength, and tradition of this ancient Korean ceramic technique to the festival floor.

The Fire Stage

Outdoors, heat and spectacle take over. Custom-built kilns will be constructed and fired live throughout the festival, with Raku and Naked Raku performances creating dramatic moments of transformation.

Each firing reveals unique, one-of-a-kind pieces emerging from smoke, flame, and heat. The Fire Stage reminds visitors of the elemental connection at the heart of ceramics: earth, water, air, and fire.

The Partner Area & Market

In between performances, visitors can explore the Partner Area: a dynamic meeting place where ceramic suppliers, brands, and professionals present tools, materials, products, and expertise.

It is both a marketplace and a community hub, where professionals, students, hobbyists, and curious visitors can exchange ideas, discover new products, and connect through a shared passion for clay.

With food, drinks, and music woven throughout the festival site, the Partner Area captures the relaxed, social atmosphere of a true festival.

The Masterclass Studios

For those who want to go deeper, ClayZieFest offers six exclusive two-day masterclasses taught by internationally respected ceramic artists.

With limited spots available and hands-on access to the wheel, these masterclasses offer a rare opportunity to learn directly from leading artists in a focused and creative environment.

The masterclass program has attracted overwhelming interest. All masterclasses are currently sold out, with the exception of a few remaining spots in Kseniya Polyakova’s masterclass.

An International Line-Up of Ceramic Artists

The 2026 line-up brings together thirteen artists from across the world, each with their own voice, technique, and approach to clay.

From South Korea, ClayZieFest welcomes Kwak Kyungtae and Studio Sohman.

Kwak Kyungtae is known for his monumental Onggi vessels and will teach an exclusive masterclass while also creating a large Onggi piece on the Performance Stage. His work brings the rhythm, strength, and deep tradition of Korean Onggi-making into a live festival context.

Studio Sohman brings delicacy, discipline, and refined porcelain techniques to the festival. Their work balances technical precision with a quiet, contemporary sensitivity, offering visitors a glimpse into the beauty and complexity of porcelain craftsmanship.

Europe is represented by an exceptional roster of artists, including José Mariscal from Spain, Tom Kemp from the UK, Jean-François Thiérion from France, Denis Di Luca from Italy, and Eric Landon, also known as Tortus, from Denmark and Kseniya Polyakova.

José Mariscal is known for his speed, fluidity, and extraordinary control at the wheel. His masterclass on throwing special forms is already sold out, and his live demonstrations promise to be among the most dynamic moments of the festival.

Tom Kemp brings an experimental and conceptual approach to clay, combining technical skill of calligraphy with a strong sense of form, surface, and artistic inquiry.

Jean-François Thiérion will bring scale, presence, and physicality to the Performance Stage, creating monumental forms in front of the audience.

Denis Di Luca will contribute to the festival’s fire-based program with Raku and Naked Raku expertise, adding smoke, flame, and dramatic transformations to the festival experience.

Eric Landon, better known as Tortus, joins ClayZieFest from Denmark. With his calm, precise throwing style and internationally recognised ceramic practice, Tortus has inspired a global audience of makers and clay enthusiasts. His presence adds another strong European voice to the festival’s already diverse program.

Kseniya Polyakova brings a powerful approach to large-scale throwing, combining technical control with expressive, architectural forms. As the only remaining masterclass with a few spots available, her presence offers visitors a rare opportunity to experience ambitious wheel work up close on both the Main Stage and the Performance Stage.

Belgium itself is proudly represented by Aster Caemaert, Margot Thyssen, Rudie Delanghe, Nora Nuyts, and Anja Meeusen, each showing the strength and diversity of Belgian ceramic culture.

Aster Caemaert, will open the festival on Thursday showing her signature throwing techniques. Anja Meeusen is on the performance stage with her signature porcelain throwing performance, revealing the rhythm, repetition, and precision behind production throwing. Nora Nuyts will challenge herself on the Performance Stage, pushing the boundaries of her throwing skills over two days. Margot Thyssen, and Rudie Delanghe will each bring their own distinct approach to material, technique, and ceramic expression.

A Celebration of Collaboration

What makes ClayZieFest stand out is its collaborative spirit. It is not simply a showcase of individual talent. It is a collective experience.

Artists interact, exchange ideas, and work in close proximity. Visitors can move freely between simultaneous events, choosing their own route through the program, just as they would at a music festival.

Throughout the site, the creative process is visible to everyone. There is no distance between artist and audience. The act of making becomes the performance itself.

“ClayZieFest is about connection,” says the team behind the event. “Between people, between cultures, and between the elements: clay, water, air, and fire. It is about bringing the ceramic community together and showing that ceramics is not only craft. It is movement, energy, and emotion.”

Global Interest, Local Roots

Even before its first edition, ClayZieFest has already attracted international attention. Tickets have been sold to visitors from more than 22 countries, including the United States, the Netherlands, the United Kingdom, France, Belgium, Denmark, Spain, Peru, Mexico, Australia, Japan, Luxembourg, Italy, and Turkey.

This mix of international participation and strong local organization gives the festival a unique identity: globally connected, yet deeply rooted in Belgian craftsmanship, hospitality, and community.

Belgium’s central location in Europe makes it an ideal setting for this gathering of artists, makers, collectors, professionals, students, and clay enthusiasts from around the world.

An Immersive Visitor Experience

ClayZieFest is designed for professionals and students, but also for hobbyists, art lovers, and curious newcomers.

Visitors can spend the morning watching demonstrations on the Main Stage, explore the Partner Area at noon, catch a live firing in the afternoon, and end the day with an evening Back-to-Back Challenge.

The industrial festival site adds to the atmosphere. Its mix of raw materials, open space, and architectural character mirrors the transformation at the heart of ceramics itself: raw earth becoming something refined through heat, skill, and human touch.

Food and drinks from local vendors complete the experience, creating space to relax, connect, and recharge between demonstrations, performances, and firings.

Building the Future of Ceramics Festivals

ClayZieFest marks a significant moment in the evolution of how ceramics is shared and celebrated.

By combining education, performance, fire, community, and international exchange into one immersive environment, it redefines what a ceramics festival can be.

Rather than separating maker from audience, ClayZieFest invites everyone into the creative process. In doing so, it makes ceramics accessible, exciting, and alive.

“We want people to feel the rhythm of the wheel, the sound of the clay, the tension of the fire,” say the organizers. “Ceramics is physical, emotional, and universal. That is what ClayZieFest captures.”

Looking Ahead

With momentum already building and visitors travelling from across continents, ClayZieFest 2026 is set to become one of the most exciting new events in the world of ceramics and a proud moment for Belgian artistry on the global stage.

ClayZieFest 2026
20–23 August 2026
Belgium

Tickets and full program: www.clayziefest.com
Press & partnerships: hello@clayziefest.com
Instagram: @clayziefest

4 days. 6 masterclasses. 3 stages. 13 international ceramic artists. Infinite inspiration.

Intersections: Craig Underhill and Kate Wickham is on view at Kellie Miller Arts Gallery, Brighton

June 27 – August 17, 2026

KMA Gallery in Brighton, UK, presents the exhibition Intersections from 27 June to 17 August 2026, featuring ceramicist Craig Underhill and painter Kate Wickham. Combining two artists united in their individual ethos to dissect the landscape in a variety of ways, the exhibition serves as a reminder of how our paths can diverge, cross, and reunite over time.

Gallery owner and curator Kellie Miller has leaned into the perspectives they each offer, situating their works to create conversations about place and space. Craig’s Deep Migration, a striking work with an enticing ombre blue glaze and distinct directed black outcroppings, points toward Harbour’s Edge by Kate, inviting the audience to consider where and how we have landed in our place. Millions of years of collective migration have marked the land as Craig has marked his vessels, leaving traces in the ground, on paper maps, in photographs and now through recorded digital journeys, all of which Kate recalls in her compositions.

Some of Kellie’s combinations invite quieter reflection. Kate’s Field Mapping, a lush green painting with delicate cross-hatching recalls a sea of tended fields viewed from above, as if suspended from the clouds. Sitting in partnership with Craig’s Morning Still, where the order of the land is clearly demarcated through raised slabs and blocks of colour, Kellie suggests our influence on the earth can be the source of our meditative connection to it just as much as the earth itself.

Craig’s ceramics take a painterly approach to the medium, creating richly layered surfaces that emulate the sensory experience of being amongst the land. With a huge international following for his slab-built vessels, his pieces embrace the Cornish art movement, celebrated for its depiction of the unique light and dramatic coastlines of Cornwall. Having relocated to the area in 2020 in order to be closer to the source of his inspiration, Craig’s vision of the landscape has become increasingly more tactile, incorporating stronger mark-making and even sand into his pieces. In his quest to celebrate this vaunted landscape, he creates three dimensional vessels that are akin to Cornish artist Ben Nicholson’s abstract paintings.

Ceramics that harken back to a place and a land so deeply as these required another artist who was equally as drawn to the memory and representation of place. Who better than Kate, a celebrated ceramicist turned painter who was once Craig’s tutor 36 years ago at Portsmouth Polytechnic. Kate is inspired by the land’s topography, from its architecture to aerial photography. Thus each of her paintings is an invitation to consider a place from as many angles as possible in order to truly see. Kellie invited her to expand the scale of her work for Intersections, so the exhibition features the largest works she has ever made.

For Intersections, Craig has also produced the largest work he has ever made, the 51cm (20in) tall Estuary Walk. The textured finish across the tall slabs feels like a misty summer morning by the coast, with pops of blue sky visible as the sun blazes through the foggy clouds rising from the sea. Sitting on solid, stone-like posts sinking into a soft blue finish, glazed as if to emulate the rippling water, the freshness of a cool, early walk before the heat of a summer’s day resonates across the ceramic surface.

Other works seem to reflect on the history of the place, drawing on millennia of human engagement with the land. With hardly a space untouched by people, the island of Great Britain is marked by thousands of villages and communities that have come and gone over centuries. Some interventions are obvious, such as the oft-stumbled-upon stone walls depicted in Ancient Boundary, which delineate everything from farmland to kingdoms. Others are more atmospheric, such as Lost Numbers II, which feels both ancient and futuristic at once, like an artefact of a people who once inhabited a place and will again.

The variety of diverging and converging paths presented through Intersections, both literal and metaphorical, prompts a reconsideration of our role in shaping not only the land but also the communities that populate it. Celebrating ceramics as an important vehicle in creative storytelling alongside painting, sculpture and textile, KMA Gallery continues to present works at the forefront of contemporary art.

Craig Underhill was born in Glasgow, Scotland, and now lives and works in Cornwall. He has a BA in Fine Arts with a specialisation in ceramics from Portsmouth Polytechnic. His ceramic practice explores place, history, landscape and memory. Rather than referencing specific locations directly, his works evoke the experience of moving through and engaging with the landscape, suggesting fragments of memory, atmosphere and place. He has exhibited across the UK and Europe, and his work is held in private collections in the UK, the US, Singapore, Canada, Germany, Switzerland and more.

Kate Wickham was born in Sheffield, Yorkshire, and now splits her time between East Sussex, UK and France. Originally a ceramicist, she trained at Camberwell School of Art and then completed an MA at the Royal College of Art. Her ceramic work is in a number of public and private collections in the UK and abroad. Around 2010, Wickham switched from ceramics to painting, which she felt was a natural progression, as her ceramic work had always been very painterly. Exploring landscape through abstraction, particularly in areas where she has a personal affinity for the landscape, her paintings are highly sought after and held in private collections in the UK, Europe and the US.

Kellie Miller was born in London and lives and works in Brighton, UK. An international artist, curator, critic, gallery owner and entrepreneur, she holds a first degree in arts from the University of Brighton and an MA in Arts Criticism from City University, London. Having spent a period of her career focused on ceramics, her artworks, sculptures and paintings have been exhibited widely across the UK and Europe, with works held in the collections of the Yingge Ceramics Museum, Taiwan; Shigaraki Ceramic Cultural Park, Japan; and Brighton and Hove Museum, UK, as well as in many private collections across the globe. In 2013, she embarked on a pop-up gallery project representing eight artists. After the project, realising she had a talent for curating and selecting artworks, she secured the space and developed the award-winning Kellie Miller Arts Gallery (KMA).

Contact
gallery@kelliemillerarts.com

Kellie Miller Arts Gallery
3 Church Street
Brighton, East Sussex, BN1 1UJ
United Kingdom

Captions

• Craig Underhill, Ancient Boundary, 2026, ceramic, 29x17x10 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, April Flow, 2026, ceramic, 19x12x11 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, April to May, 2026, ceramic, 23x30x14 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, Deep Migration, 2026, ceramic, 39x29x14 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, Estuary Posts, 2026, ceramic, 21x30x14 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, Estuary Walk, 2026, ceramic, 51x38x20 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, Ground Map, 2026, ceramic, 18x21x9 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, Landscape with 2, 2026, ceramic, 20x9x5 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, Lost Circles, 2026, ceramic, 12x17x8 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, Lost Numbers II, 2026, ceramic, 27x18x10 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, Morning Still, 2026, ceramic, 38x31x15 cm. Courtesy of Kellie Miller Arts Gallery
• Craig Underhill, October Pink, 2026, ceramic, 16x11x10 cm. Courtesy of Kellie Miller Arts Gallery
• Kate Wickham, Field Mapping, 2026, mixed media on board, 78×65 cm. Courtesy of Kellie Miller Arts Gallery
• Kate Wickham, Harbour’s Edge, 2025, mixed media on board, 53×53 cm. Courtesy of Kellie Miller Arts Gallery

Jihyun Kim (b. 1997) is a ceramic designer from South Korea. Holding a Master of Arts in Ceramics and Glass from the Royal College of Art, her work is recognized internationally and was showcased at events such as Milan Design Week and the British Ceramic Biennale. She is currently creating works in her London studio.

Jihyun Kim’s creations blend sculptural and functional elements, drawing inspiration from her Korean cultural heritage and the mystical qualities of ceramics. Her work is informed by Korean fairy tales, folk beliefs, and superstitions. Raised by her grandmother from a young age, she was taught specific habits and rituals to follow. After moving to a new country, she became aware of how deeply these lessons had shaped her perspective, allowing her to recognize beauty and ancestral wisdom within them. She incorporates elements from these stories into her practice, translating them into functional ceramic designs.

The technical and visual language of Kim’s work is strongly influenced by the meticulous and unpredictable behavior of gloop glaze. She uses glaze as a material to evoke a sense of visual mysticism, aiming to prompt a reaction of “How is this possible?” Rather than treating glaze as a surface coating or decorative element, she integrates it into the structural formation of her pieces. By using gravity within the kiln, she allows the glaze to form intentional shapes on the ceramic body.

Through her practice, Kim seeks to share the rich tales and wisdom of Korea through witty, visually intriguing ceramic objects, inviting audiences to use and display them in their everyday spaces. Her work encourages viewers to discover magic within the mundane.

Visit Jihyun Kim’s website and Instagram page.

Featured work

Selected works, 2023-2026

Salty Fairy Ring Project, 2025-2026

This series was inspired by Jihyun’s grandmother’s ritual of placing a small ceramic jar filled with salt near the entrance of their South Korean home. This jar was believed to prevent negative energy and evil spirits from entering the household, and it is a widely held belief and superstition in South Korea. Jihyun merged this tradition with the enchanting properties of fairy rings, which are circular formations of mushrooms that have been interpreted in various ways throughout history. Drawing inspiration from these two sources, Jihyun created a series of salt containers, aptly named ‘Salty Fairy Ring/’, which embody a sense of wonder and magic.

Teoju, 2025

Teoju is inspired by the Korean god Teojusin, traditionally represented as the god of land, who protects the earth where the home is located. Traditionally, by placing a big pot surrounded by straw with a cone-shaped lid in their yard, Korean ancestors wished for good luck and thanked Teojusin for blessing the land.

Fingernail Fungi, 2023

The inspiration for ‘Fingernail Fungi’ came from Korean folklore about fingernails and the mouse. Jihyun’s grandmother always told her not to cut her fingernails in
the night because the mouse will eat them and become her. She incorporated this mystical tale with the poisonous and hand-like appearance of the Red coral fungi.
The dangerous properties of the mushroom serve as the driving force behind the artwork, ensuring that the piece not only contains fingernails but also safeguards
them from the covetous appetite of mice.

Captions

• Salty Fairy Danji 11, 2026, Porcelain, High-Fire Color Stain, Gloop Glaze, Borosilicate Glass, Stainless Steel Wire, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 7, 2026, Porcelain, High-Fire Color Stain, Gloop Glaze, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 1, 2025, Porcelain, High-Fire Color Stain, Gloop Glaze, Gold Lustre, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 3, 2025, Porcelain, High-Fire Color Stain, Gloop Glaze, Gold Lustre, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 4, 2026, Porcelain, High-Fire Color Stain, Gloop Glaze, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 6, 2025, Porcelain, High-Fire Color Stain, Gloop Glaze, Borosilicate Glass, Stainless Steel Wire, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 8, 2026, Porcelain, High-Fire Color Stain, Gloop Glaze, Borosilicate Glass, Stainless Steel Wire, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 9, 2025, Porcelain, High-Fire Color Stain, Gloop Glaze, Gold Lustre, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 12, 2026, Porcelain, High-Fire Color Stain, Gloop Glaze, Gold Lustre, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 13, 2025, Porcelain, High-Fire Color Stain, Gloop Glaze, Gold Lustre, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 17, 2025, Porcelain, High-Fire Color Stain, Gloop Glaze, Borosilicate Glass, Stainless Steel Wire, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 18, 2025, Porcelain, High-Fire Color Stain, Gloop Glaze, Gold Lustre, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Danji 19, 2026, Porcelain, High-Fire Color Stain, Gloop Glaze, Borosilicate Glass, Stainless Steel Wire, 18x18x28 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Enoki 1, 2026, Porcelain, High-Fire Color Stain, Gloop Glaze, Borosilicate Glass, Stainless Steel Wire, 27x13x32 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Enoki 2, 2026, Porcelain, High-Fire Color Stain, Gloop Glaze, Gold Lustre, 27x13x32 cm. Photo by Karin Taylor, Chris Rands
• Salty Fairy Enoki 6, 2025, Porcelain, High-Fire Color Stain, Gloop Glaze, Gold Lustre, 27x13x32 cm. Photo by Karin Taylor, Chris Rands
• Teoju, 2025, Excavated Clay, Porcelain, High-fired colour stain, Gloop glaze, Gold Lustre, 210x210x350 mm
• Fingernail Fungi, 2023, Porcelain, High-fired Colour stain, Experimental glazes, 230x150x100 mm

In a world that moves increasingly fast, many people are searching for experiences that allow them to slow down, create with their hands, and reconnect with themselves. Pottery retreats have become one of the most rewarding ways to do exactly that.

Whether you’re a complete beginner or an experienced ceramic artist, a pottery retreat offers something increasingly rare: uninterrupted time to learn, make, and simply be present.

At Aura Pottery, a ceramic studio and retreat space on a private farm in North India, guests travel from around the world to spend weeks immersed in clay, nature, and a slower rhythm of life. Run by mother-daughter duo Andy and Anya, it’s become a beloved spot for creatives and ceramic artists to slow down, deepen their craft, and enjoy the beauty of the owners’ home and land.

Aura Pottery is offering Ceramics Now readers a 10% discount on its retreats when booked by the end of August 2026 (simply mention Ceramics Now when booking).

What to Expect at Aura Pottery

Unlike a typical workshop that lasts a few hours, a pottery retreat allows you to fully immerse yourself in the creative process, with retreat lengths ranging from 1 to 12 weeks. Guests live on-site, spend substantial time in the studio, and become part of a creative community.

The experience blends hands-on learning with the freedom to explore personal projects — time for experimentation, reflection, and gradual improvement that a single-day class simply can’t offer.

Shaped around your individual goals, the curriculum is relaxed and flexible, meeting you where you are in your practice. You’ll spend your days on a beautiful, private, women-led farm – slowing down, thinking, creating, and stepping away from daily life – complemented by daily yoga and meditation sessions for both creative focus and overall well-being.

A Typical Day at Aura Pottery

Slow mornings, clay-covered afternoons, and evenings to unwind. Here’s how a typical day unfolds:
8.00 AM: Morning yoga & meditation
9.30 AM: A slow, nourishing breakfast
11.00 AM: Studio time to build, explore, and experiment
2.00 PM: Lunch break and rest
2.30 PM: Open studio time. Work, pause, or simply snooze
4.30–6.30 PM: Reviews and guidance with Andy
7.45 PM: Dinner and wind-down

Yoga runs Monday to Saturday, giving your mornings a steady rhythm. Weekends are instruction-free, although the studio stays open for independent work. Arriving on a Monday is ideal to settle in and step straight into the flow.

Many guests arrive hoping to learn pottery techniques, but leave with something more: renewed confidence, creative momentum, and a deeper love for working with their hands.

Accommodation

Accommodation at Aura is beautiful, well-maintained, and easy to choose from. Retreat residents can stay at either the Potters Villa or the Main Residence.

The Potters Villa is a charming building facing the orchard, just a one-minute walk from the studio. Housing up to 8 residents, it’s a cozy space where all rooms open onto a central lounge, perfect for movie nights, post-pottery lounging, and catching up with newly made friends.

The Main Residence offers a more private, elevated stay, shared with hosts Andy and Anya. Surrounded by lush gardens and hundreds of ceramics crafted by Andy over the years, it’s an elegant and serene space to unwind. Two large, private double-occupancy bedrooms are available on a single or double basis, with the choice of a pool view or garden view.

Studio Rentals

Not every ceramic artist is looking for formal instruction. For experienced potters, sculptors, and ceramic professionals, finding access to a well-equipped studio while travelling can be one of the biggest challenges.

Pottery Studio Rentals at Aura offer a simple solution: rent the space, focus entirely on your own work, and let everything else be taken care of. Stay, meals, and daily yoga are all included, so you can truly hone your craft without distraction.

Studio rental guests enjoy the same professional ceramic facilities and peaceful farm environment as retreat participants. This option tends to draw independent artists, professional potters, sculptors, artists developing exhibitions, and creatives working on longer-term projects.

It’s a rare thing: professional facilities, genuine quiet, and the time to go deep into your work.

Life on a Farm

Perhaps the most beautiful part of a retreat at Aura is the location. Sprawled across 3 acres of lush greenery, the outdoor spaces are as much a part of the experience as the studio itself. A swimming pool, orchard, kitchen garden, meditation circle, and various gardens offer plenty of room to wander, rest, and breathe.

And then there’s the wildlife. Red-vented bulbuls, spotted owlets, purple sunbirds, kingfishers by the pond, greater coucals, black drongos, peacocks dancing by the pool at five in the morning, and a pair of Indian grey hornbills that have lived on this land for years. Sometimes an occasional wild junglefowl wanders in uninvited. The dogs, cats, trees, and birdsong weave in and out of daily life here, in and around the studio, the villa, the gardens. A gentle, living coexistence that nature lovers tend to fall hard for.

An Exceptional Pottery Retreat

The best pottery retreats offer more than instruction. They create space to step outside daily routines and dedicate time to creativity, reflection, and personal growth.

Whether you spend a week learning the fundamentals or several weeks developing independent work in a professional studio, the experience tends to stay with you long after you leave.
For those searching for a pottery retreat in India, a pottery holiday abroad, or a studio rental for ceramic artists, the opportunity is not simply to make pottery. It is to make space for creativity, curiosity, and a different way of experiencing time.

Guest Experiences

Nobody describes the essence of a space like guests who have visited it in the past. Aura Pottery has hosted over 200+ guests from all over the world in the past 4 years.

“I spent two wonderful months in Aura exploring my creative side with clay with just the perfect amount of guidance when needed and the freedom to explore and express whatever my style is slowly evolving to be”

Martha Triantafillides, Greece

“I came to Aura Pottery for what I thought would be a pottery retreat and ended up leaving with so much more. I spent three months here, and this place flourished me in ways I never expected: creatively, personally and spiritually”

Lara Abi Tarabay, Lebanon

“I had the pleasure of staying at Aura for 4 weeks. From the moment I arrived, I knew this place was magic. I was an absolute beginner at pottery, and Andy taught me some very valuable skills early on”

Olivia Gowans, Australia

“I spent two weeks at Aura, and honestly, it’s beyond words. It was restorative and enriching in ways I couldn’t have imagined. The energy of the farm grounds you immediately”

Anna-Svea Jensen, Germany

“Being at Aura Pottery has honestly been one of the most fabulous experience of my life. It was the perfect time for this lovely bubble of serenity, creativity and sweetness”

Alexandra Réty, France

Aura Pottery is offering Ceramics Now readers a 10% discount on its retreats when booked by the end of August 2026 (simply mention Ceramics Now when booking).

To book a pottery retreat, write to Aura Pottery or send them a WhatsApp message.

Moon Jar; An Axis is on view at Gallery LNL and the Korean Cultural Centre, Sydney

June 12 – August 21, 2026, Korean Cultural Centre Australia

June 12 – July 11, 2026, Gallery LNL

Gallery LNL is delighted to present Moon Jar; An Axis, a group exhibition presented in collaboration with the Korean Cultural Centre AU. This exhibition explores Korean and Australian artists’ engagement with the Moon Jar together with those forms it brings forth, like the moon. The Moon Jar is widely regarded as an emblem of Korean aesthetic sensibilities, yet it is also the site of a continual reimagining across media by Korea’s contemporary artists. Axis establishes a cross-cultural discourse between Korean and Australian artists, examining at once the continuity of traditional practice, as well as the transformation which results from resituating the Moon Jar within a cultural context far removed from its historical beginnings.

Artists: Les Blakebrough, Choi Youngwook, Kwirak Choung, Kirsten Coelho, Janet Dawson, Rachel Ellis, Neville French, Shannon Garson, Ryan Hancock, Kang Minsoo, Shane Kent, Bronwyn Kemp, Kim Syyoung, Kim Yikyung, Hendrik Kolenberg, Koo Bohnchang, Lee Hunchung, Lee Jisook, Kevin Lincoln, Sassy Park, Park Yeontae, Simon Reece, Evan Salmon, Kat Shapiro Wood, Vipoo Srivilasa, Alexandra Standen, Seo Kwangsoo, Toni Warburton, Gerry Wedd, Maryanne Wick

The Moon Jar
The simple appearance of the Moon Jar, as a large, undecorated white porcelain vessel, belies the rigorous technical process of its making. Two bowl-shaped halves are thrown separately and joined at the rims, leaving a distinct crease around the middle. During firing, variables such as the vessel’s placement in the kiln and the direction of heat produce slight distortions: gentle asymmetries, soft humps and uneven curves which give each jar its distinct, organic character. After initial bisque firing, the vessel is coated with a transparent or milky-white glaze and refired, with no added decorations.

Origins
Originating from the Joseon dynasty, the Moon Jar is a fascinating anomaly in East Asian art, for being a form entirely unique to the Korean peninsula. Archaeological findings show that production began in the official royal kilns (bunwon) of Gwangju from the early 1600s, growing in popularity through the early 1700s. For less than two centuries, it was categorised under the broader term baekja daeho (백자대호, “large porcelain jar”), and produced for both ceremonial and functional purposes, such as for the storage of grain and oil. By the late 18th century, however, production had ceased for reasons that remain unknown, and remained comparatively obscure until the mid-twentieth century.

Contemporary Currents
The Moon Jar is today widely regarded as an emblem of Korean aesthetic sensibilities par excellence, continuing to be extensively reimagined across media by Korean artists. In recent years, the Moon Jar has drawn sustained international attention; in Australia, for instance, a notable number of artists across mediums have engaged the form as a recurring motif within their respective practices. This exhibition showcases works by Australian artists responding to a challenge as open as it is exacting: to find their own way to the moon jar. Rather than being asked to replicate or defer, these artists were invited to bring their own practices into orbit with a form which, for many of them, is newly encountered. The exhibition also gathers works which resonate less with the overt form of the moon jar, so much as that form’s own hidden inspirations; from responses to the moon itself, to roundness, to the relationship between vessel and void. What results is less an academic survey of influences, and more of a dynamic record, a live encounter in-between two distinct cultures.

About Gallery LNL
Gallery LNL is a contemporary gallery in Sydney, Australia. Located in King Street, Newtown since 1990, the gallery has cultivated a singular relationship with the ceramic medium, playing a pivotal role in fostering the careers of Australia’s preeminent ceramicists from their early years to international recognition. Each successive director of LNL has uniquely entered leadership with a foundation in artistic practice, bringing an intimate understanding of the creative process to the gallery’s curatorial and commercial vision. Under the directorship of Jin Young Lee since 2023, LNL continues to operate with an artist-led vision that aims to provide artists across all disciplines with the institutional support and curatorial framework necessary to expand the scope and impact of their practice.

Contact
info@gallerylnl.com.au

Gallery LNL
49 – 51 King St
Newtown NSW 2042
Australia

Installation views by Docqment

Captions

• Alexandra Standen, Milky Moon, 2026, Hand build porcelain, glazed, 41 x 39 x 39 cm, Photo by Docqment
• Kirsten Coelho, You Saw Me Standing Alone, 2026, porcelain satin glaze, 17.5 x 29 x 26.5 cm, Courtesy of the artist and Sullivan+Strumpf, Sydney, Melbourne, Singapore and Philip Bacon Galleries, Brisbane
• Shane Kent, Loo-Errn Moon, Morning, 2026, porcelain, ceramic stain and glaze, 38.5 x 39.5 x 39.5 cm
• Bronwyn Kemp, Many moons have passed, 2026, stoneware clays 27 x 28 x 28 cm, Photo by Docqment
• Toni Warburton, Enigma of the Hemispheres, 2026, press moulded raku clay engobes, sgraffito and glazes, 34 x 28 x 23 cm, Photo by Docqment
• Gerry Wedd, Swimmer, 2026, porcelain with cobalt underglaze, 20 x 18 x 18 cm, Photo by Docqment
• Kat Shapiro Wood, Moon Skin (luminous), 2026, black stoneware and engobe, liquid quartz, 22.5 x 22.5 x 22.5 cm, Courtesy of the artist and Chalk Horse Gallery
• Kim Syyoung, Planet TM_5, 2016, 1300°c reduction firing, 38 x 30 x 30 cm, Photo by Doqment
• Kim Yikyung, Moon Jar, 2025, porcelain with clear glaze, 34 x 34 x 34 cm, Photo by Docqment
• Sassy Park, Human Rites, 2026, raku with porcelain slip and glaze, 22 x 22 x 22 cm, Photo_ Karl Schwerdtfeger

Nancy Bowen: From A to Z and the Bodies In Between is on view at Nunu Fine Art, New York

June 5 – July 25, 2026

Nunu Fine Art New York is pleased to announce From A to Z and the Bodies in Between, the first solo exhibition of New York-based artist Nancy Bowen (b. 1955) with the gallery. The exhibition features recent collages and sculptural works that bring together an expansive range of materials, many drawn from nature and the artist’s personal archive. Working with the sensibility of an “artist-archaeologist,” Bowen excavates, recombines, and repurposes these elements to subvert long-held narratives surrounding the female body, craft traditions, language, and history.

Using historical materials as a starting point, Bowen’s collages allow language sourced from text published decades ago to acquire new associations in the present. Since 2015, she has developed a series of collages made from early and mid-twentieth century dictionaries discovered in her parents’ home. Combining materials and techniques associated with both fine art and craft, Bowen removes individual pages for each letter of the alphabet and collages them together, overlays the sheets with geometric patterns, then embellishes them with paper, glitter, and pigment. Words like “naked,” “obeisance,” “taboo,” and “zeal” surface within each composition, revealing no apparent rhyme or narrative. While viewers may instinctively search for a hidden message, Bowen emphasizes visual rhythm and association over literal reading. She has noted, however, that amid a shifting political climate, certain selections have begun to resonate differently for both herself and her audiences. Social and political concerns surface in a process shaped as much by intuition as by circumstance.

Bowen’s three-dimensional works extend her fragmentation of language and history to the body. She initially conceives her sculptures as bodies, gradually departing from that framework as she layers on new materials. Sculptures such as From the Deep, 2024, Sentinel, 2024, and Venus Again, 2022 evoke the female figure through their voluminous and sensuous forms but resist fixed or literal classifications. Conventional sculpting materials, most often ceramic, serve as a structural foundation, while porcupine quills, coral, and beads introduce texture, ornament, and associative meaning. As hand-made and found materials work in harmony and organic, body-referencing shapes co-exist with synthetic matter, normative constructions of the female body are subverted. Bowen’s sculptures make visible the interplay of material, form, and meaning, exploring how bodies—like language—can be reconstructed and reimagined.

What distinguishes Nancy Bowen’s work is her unique ability to not only seek out her own sources and invent her own parameters, but to reconfigure them simultaneously. Across her broad oeuvre, materials are reused and repurposed, words are transformed into images, bodiestake on new shapes, and the personal becomes deeply resonant.

Nancy Bowen is a mixed media artist known for her eclectic mixtures of imagery and materials in both two and three dimensions. Her sculpture and drawing exist in a liminal zone between abstraction and representation and offers a poetic commentary on our quickly changing material culture. Like an artistic archeologist in this age of globalization and post-industrialization, she salvages (often disappearing) ornament and craft traditions and incorporates them into works at once whimsical and politically charged.

Bowen has been featured in solo exhibitions throughout the United States and Europe, including at the Provincetown Arts Museum, Catskill Arts Society, Peeler Art Galleries at DePauw University, Maass Gallery at Purchase College, and European Ceramic Work Center, among others. She has been included in group shows such as at Corcoran Gallery of Art, Washington, D.C; White Columns, NY; The Queens Museum, NY; The Institute of Contemporary Arts, Richmond, VA; Centre d’Arte Contemporain, Geneva; Sculpture Center, NY; Tacoma Art Museum, WA; The Wallach Gallery at Columbia University, NY; Corning Museum of Glass, NY; Rockland Center for the Arts, NY; Neuberger Museum, NY; The Weatherspoon Museum, NC; Boston Center for the Arts, MA; Museum fur Angewandte Kunst; Museum of Arts & Design, NY; and Hyde Park Art Center, IL.

Her work has been reviewed widely in such journals as Art in America, Artforum, Glass Magazine, Sculpture Magazine, and has won awards from Anonymous was a Woman; the National Endowment for the Arts; the New York Foundation for the Arts; the MacDowell Colony; Yaddo; the Brown Foundation at the Dora Maar House in Menerbes, France; and the Jentel Foundation.

Contact
gallery@nunufineart.com

Nunu Fine Art
381 Broome St, GF
New York, NY 10013
United States

Photos courtesy of the gallery

From November 8, 2025, to October 4, 2026, the GRASSI Museum of Applied Arts in Leipzig presents the exhibition GEFÄSS / SKULPTUR 4, presenting a remarkable collection of over 300 ceramic works by dozens of artists from five continents. This exhibition highlights for the forth time the museum’s growing focus on contemporary studio ceramics and serves as a distilled reflection of its extensive collection, enriched by significant donations and acquisitions over the years.

At the heart of the exhibition lies a profound exploration of the relationship between functional vessels and autonomous sculptures. The diverse artistic approaches are reflected spatially, as vessels and sculptures face each other along two central display rows. Rather than presenting them as opposites, the exhibition encourages an engaging dialogue intended to stimulate ongoing reflection. Visitors are invited to ponder the question posed in the exhibition text: Where does the vessel end, and where does sculpture begin? This setup reveals how modern studio ceramics have increasingly transcended mere utility, tracing the evolution of ceramic artistry from the post-war era to contemporary practices while emphasizing the dynamic interplay between form and function.

Notable works from the late 1940s to the 1970s, classics of the studio ceramic movement, such as those by Richard Bampi and Albrecht Hohlt, as well as by Lucie Rie and Hans Coper, illustrate the initial commitment to traditional vessel forms while simultaneously hinting at emerging sculptural intentions. Especially at the beginning of the exhibition, several works appear that can still be clearly assigned to the realm of the vessel, yet subtly begin to probe the limits of the functional object. This exploration unfolds in markedly different ways. At times it is playful and poetic, as in the 2010 teapot by Chikako Yoshikawa: a porcelain form whose handle sprouts a delicate green leaf, suggesting a quiet transformation from utility to organic metaphor. A similarly tentative gesture can be observed in the work of Louise Gardelle. In her 1992 bowl, the depicted female figure gently disrupts the vessel’s boundary – the flowing hair and a dangling foot extend beyond the rim, marking a cautious yet deliberate attempt to transgress the defined contour. A more assertive approach emerges in the 2013 teapot by Sonngard Marcks. While still recognizably functional, its surface is overgrown with a profusion of blossoms from which branches extend outward, rendering handling difficult, if not impossible. Here, the tension between usability and sculptural autonomy becomes unmistakably pronounced. This development reaches a decisive point in the work of Beate Kuhn. Her piece Plastik Musik I (2007) resists any immediate classification as a vessel. Evoking organic life forms – reminiscent of underwater landscapes with corals, shells, and algae – it nevertheless retains openings and expansive gestures that faintly echo the idea of a bowl without fulfilling it. Additional works by Kuhn in the exhibition further expand this vocabulary: larger-scale structures resembling organic architectures, composed of repetitive, upward-growing elements.

Among the abundance of works on display, one piece in particular holds my attention: a cup-shaped vase with two handles, created around 1990 by the British ceramist Colin Pearson. The object, made of fine stoneware – thrown, assembled, altered, and glazed – is presented alongside a tall cylindrical vessel by Edmund de Waal. Pearson, known for his slightly irregular thrown unique vessels, cylinders, and footed bowls – initially in grogged stoneware and later also in porcelain –developed a distinctly sculptural language. His works often feature torn rims and striking handle or wing-like attachments: pitchers with garland-like handles, as well as slab-built box forms. The cup shown here is a particularly graceful example. Covered in a matte white glaze, it invites a tactile response; one is almost compelled to hold it, to trace its subtly roughened surface. The handles, however, are what transform the piece. They seem to have evolved beyond their functional origin, taking on a wing-like quality, or resembling the emergence of delicate leaf formations – as if caught in a moment of motion. There is a tenderness and elegance to this transformation that inevitably calls to mind Gian Lorenzo Bernini’s sculpture Apollo and Daphne – a key work of the Italian Baroque. Much like Daphne’s hand, captured in the instant her fingers turn into laurel leaves, Pearson’s vessel seems to embody a moment of metamorphosis.

Another highlight – equally delicate, strikingly evocative, and imbued with a sense of movement – is Ursula Morley-Price’s blossom-shaped bowl object from around 1981, made of porcelain. The artist creates thin-walled vessel forms defined by vertical, ruffled lamellar structures. The porcelain is wafer-thin, its contours so refined that one might imagine this wide-open bloom stirring at the slightest breath of air. This natural impression is further enhanced by the subtle use of engobe, ranging from white to greyish-brown tones. Other bowl objects in the exhibition continue and intensify this dynamic interplay between vessel and sculpture, revealing an ongoing negotiation and subtle shifting of boundaries between the two. Each is so precisely resolved, so remarkably distilled in form, that it asserts itself effortlessly as a sculptural object beyond function. This is evident, for instance, in a bowl by Chinako Inaba, created around 2021. Made of light, glazed stoneware, its linear, relief-like slabs are bent and shaped into elegant forms, reminiscent of rolled or unfurling leaves and blossoms. Similarly compelling is Mieke Everaet’s finely constructed bowl of tinted porcelain. Built from small, narrow squares arranged in radial, concentric formations, the piece unfolds a subtle interplay of red and white tonalities. In contrast, Ann Van Hoey’s bowl Earthenware Ferrari (2015) captivates through its striking chromatic presence. Constructed from assembled earthenware slabs, cut and finished with automotive paint, the vivid Ferrari red reinforces the object’s form. Here, there is no ambiguity: the piece dominates the display case like a sculpture of the Pop Art. By comparison, the black-and-white porcelain object by Paula Bastiaansen only subtly recalls the idea of a bowl. Composed of rolled porcelain sheets, altered, cut, and assembled from meticulously prepared strips the work results in cold-assembled, fragile, and expansive form. Bastiaansen’s works often evoke the appearance of frozen liquid swirls or delicately stilled fan- or feather-like structures in mid-motion.

A further compelling aspect of the exhibition is the interplay between vessel, sculpture, and the anthropomorphic. A key example is Ayaka Terajima’s Little Nailed Arms Doki (2024), an unglazed work made from recycled clay. The artist draws inspiration from the richly ornamented ceramics of Japan’s Jōmon period (ca. 14,000–1,000 BCE), among the oldest surviving artifacts of the region. These historical works are characterized by distinctive relief patterns reminiscent of cords, shells, and plant forms; the recurring rope-like motifs are often interpreted as snakes – universal symbols of rebirth. Terajima translates this tradition into the present by pressing fragments of packaging materials into the clay, embedding traces of contemporary life. The resulting figures appear as serene, hybrid beings oscillating between archaic form and futuristic vision. A similar dialogue between object and figure emerges in Helmut Menzel’s two Leuchterfiguren (2025). Thrown, assembled, and double-glazed, they feature simplified faces composed of geometric forms, evoking contemporary emoji-like expressions. Philsoo Heo’s vase (2025) likewise carries a subtle anthropomorphic quality: while clearly defined as a vessel, its verticality suggests the presence of an upright human figure, pointing to the long-standing association between vessel and body in the history of ceramics. Particularly striking are Heo’s multilayered glazes, which lend the works a complex, painterly surface. His often elaborately constructed pieces – composed of stacked, amorphous elements and saturated with vivid glazes – challenge the relationship between object, surrounding space, and viewer. Ute Kathrin Beck engages similar anthropomorphic associations in her Apostle Vase Noel (2022), though here the reference is explicitly embedded in the title. This large-scale stoneware vessel, characteristically built and roughly modeled with convex bulging forms, is finished in a monochrome gold glaze and transformed into a figure imbued with Christian symbolism. The connection between vessel and religious form is further echoed in a chalice included in the exhibition, referencing liturgical objects used in the Catholic Eucharist. Beck’s practice also includes smaller “apostle” figures, sometimes regarded by their owners as protective objects – an indication of the long tradition of attributing special powers or symbolic charge to ceramic figures. This historical dimension is also evident in the works of Carmen Dionyse from the early 1980s. Her Säulenheiliger – a small clay figure, a saint, positioned atop a column – recalls archaeological finds and devotional objects. Here, the trajectory extends from vessel to fully realized figuration. The artist’s practice reflects a sustained engagement with sculptural figuration: heads, busts, and later full figures, often conceived as static, allegorical, or symbolic representations. These inward-looking, gaze-less forms frequently draw on biblical themes or Greek mythology. The artist works with varied clay bodies – often mixed and grogged – as well as low-fired porcelain, favoring matte, rough surfaces. Through the layered application of engobes and glazes in multiple firings, the works achieve a finely differentiated materiality and a richly nuanced chromatic presence.

Also situated within the realm of figuration is Margret Weise’s Stasifigur mit Spiegel (1990). The sculpture depicts a clothed, seated monstrous figure with a gaping mouth, holding a round mirror in which its own distorted face is reflected. The work carries a distinctly political charge; as its title suggests, it alludes to one of the darker chapters of East German history. In doing so, the exhibition remains acutely aware of its location in Leipzig, foregrounding regional perspectives while embedding them within a wider international discourse, featuring works by Ute Brade, Walter Gebauer, Gertraud Möhwald, Sybille Abel-Kremer, Rosi Steinbach, Elke Sada, and Johannes Nagel. Notably, Johannes Nagel and Elke Sada are each represented with a large-scale work in the central blue display, exemplifying two prominent approaches to the fusion of vessel and sculpture. In both of their works the resulting tension between functionality and aesthetic exploration underscores the versatility and innovative potential of ceramics as a medium.

By placing significant emphasis on regional ceramic practices alongside international contributions, GEFÄSS / SKULPTUR 4 situates the richness of ceramic production within a broader German and global framework. The support of private collections has played a key role in shaping the exhibition, with important loans from collectors such as Heinz-Peter Adams and Dr. Gisela Freudenberg. Complementing the presentation are insights into the working processes of artist Beate Kuhn, including films and works on paper, that further expand the understanding of their artistic practice and artistic practice in general. As the exhibition unfolds, it offers a compelling exploration of the complex relationship between vessel and sculpture, inviting viewers to reconsider the boundaries of ceramic art.

Katherina Perlongo (*1989 in Bolzano, Italy) is a Berlin-based curator working at the intersection of contemporary art, craft, and design. With experience in curatorial and leadership positions across institutions dedicated to modern and contemporary art, her practice focuses on materiality, making, and the narratives embedded in objects.

VESSEL | SCULPTURE 4: German and International Ceramics Since 1946 is on view between November 4, 2025 and October 4, 2026, at the GRASSI Museum of Applied Arts, in Leipzig.

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Captions

• Richard Bampi, Seerobbe, 1965. Photo credit: Esther Hoyer
• Albrecht Hohlt, Gestreckte Balustervase, 2024. Photo credit: Esther Hoyer
• Lucie Rie, Vase, 1995. Photo credit: Esther Hoyer
• Hans Coper, Bechergefäß auf Sockel, 1981. Photo credit: Esther Hoyer
• Chikako Yoshikawa, Teekanne, 1948. Photo credit: Esther Hoyer
• Louise Gardelle, Fußschale mit Bildmotiv, 1944. Photo credit: Esther Hoyer
• Sonngard Marcks, Kanne mit Gänseblümchen, 1959. Photo credit: Esther Hoyer
• Colin Pearson, Bechervase Henkelgriffen, 2007. Photo credit: Esther Hoyer
• Beate Kuhn, Plastik, 2015. Photo credit: Esther Hoyer
• Ursula Morley-Price, Blütenförmiges Schalenobjekt, 1963. Photo credit: Esther Hoyer (featured image)
• Mieke Everaet, Schalenobjekt, 1963. Photo credit: Esther Hoyer
• Ann van Hoey, Earthenware Ferrari, 1956. Photo credit: Esther Hoyer
• Paula Bastiaansen, Porzellanobjekt, 1953. Photo credit: Esther Hoyer
• Ayaka Terajima, Little Nailed Arms Doki, 1987. Photo credit: Felix Bielmeier
• Helmut Menzel, Leuchterfigur, 1963. Photo credit: Esther Hoyer
• Philsoo Heo, Objekt Zufälligkeit der Existenz, 1993. Photo credit: Esther Hoyer
• Ute Kathrin Beck, APOSTEL NOËL, 2022. Photo credit: Esther Hoyer
• Carmen Dionyse, Säulenheiliger, 2013. Photo credit: Esther Hoyer
• Carmen Dionyse, Kopf Gele Gemeentenaar, 2013. Photo credit: Esther Hoyer
• Margret Weise, Stasifigur mit Spiegel, 1941. Photo credit: Esther Hoyer
• Elke Sada, Keramische Plastik, 1965. Photo credit: Esther Hoyer
• Johannes Nagel, Objekt, 1979. Photo credit: Esther Hoyer
• Eric James Mellon, Kumme aus dem Persephone, 2014. Photo credit: Esther Hoyer