Store Krukker / Large Pots at Designmuseum Danmark

Designmuseum Danmark has just opened a new display in one of the large side galleries with 70 ceramic vessels from their own collection and described simply as large pots.

They vary in period and in country of origin but most are by Danish potters and artists and most are from the late 19th century onwards although there are also older ceramic vessels from Japan, Korea and China and work from Spain, France and England … all countries with strong but distinct ceramic traditions.

Some of the pieces are clearly storage jars - so utilitarian - but there are also sophisticated decorative vessels and some fine studio pottery.

The size of some of these pots is amazing and the selection of ceramics shown here provides an amazing opportunity to see how the technical skill of the potter; the form or shape of the pot; the choice of smooth, perfect and highly finished surfaces or the decision to leave a more natural finish determined by the character of the clay and the use or not of decoration, incised or in relief; the types of glaze; any use of texture or a preference for a smooth finish or high shine or matt surface and of course the final colour or colours produce works of incredibly diverse styles.

Designmuseum Danmark

 
 

NATUR KULTUR OBJEKT - works by Turi Heisselberg Pedersen and Marianne Krumbach

Ann Linnemann Gallery

Natur Kultur Objekt at the Ann Linnemann Gallery in Kronprinsessegade shows the work of two ceramicists - Turi Heisselberg Pedersen and Marianne Krumbach - with ten pieces from each artist. 

These works could hardly be more different in style but it is interesting to see, juxtaposed here, their use of colour and texture and to see how these very sculptural pieces occupy their space.

Ann Linnemann Galleri
Kronprinsessegade 51, København
12 September - 19 October 2019


Turi Heisseiberg Pedersen

Turi Heisselberg Pedersen studied at the School of Design in Kolding. She has taught and has been an external examiner at the Royal Academy.

Works shown here are a development of a series entitled Faceted Shapes from 2015 to 2016 where the pieces had strong underlying bulbous or baluster shapes but with bold irregular facets - flat planes - over the whole form to create strongly geometric pieces. In this more recent series, there is that same use of facets like an irregular giant crystal but with more complicated composite forms that are more distinctly asymmetric and, in some pieces, there are two or three elements grouped together. 

This is stoneware with a slip finish and the surfaces are matt - rather than glazed and reflecting light - so the material itself increases and enhances shadows and makes distinct changes in tones across each face as light falls on the piece. The surfaces are boldly cut at different angles but the finish has a light texture and that too effects the colour and enhances and both simplifies but also makes more dramatic the quality of the shadows. 

This fragmentation of complex forms is reminiscent of the work of so-called Deconstructionist architecture of the late 20th century. 

There appears to be a distinct evolution from smooth, rounded and symmetrical shapes in an earlier series of ceramic vessels - The Baluster Series from 2008 to 2012 - and then a series of related but less complex forms but with fluting or deep texture called Organic Shapes from 2013. The current works are moving to a stronger emphasis on the underlying geometry of form and surface together.

Turi Heisselberg Pedersen

 

Marianne Krumbach

Marianne Krumbach studied Art History at the University of Copenhagen - graduating in 1994 - and then, through to 2001, studied ceramics and glass at the School of Design in Kolding.

The pieces shown here are, in comparison with the work of Turi Heisselberg Pedersen, organic but in two forms …. with one group taking as a starting point nature, be it rather dark and foreboding nature, in groups of stems or leaves or bud-like shapes that enclose and seem to be self contained or even exclude the viewer, and the other amazing and complex and loosely-wound shapes of strips or ribbons of clay that somehow draw you in like entering a maze or secret place. 

They have strong colours with thick glazes and again much of this, in terms of materials and colour, is about exploring light as it falls across complicated forms to create deep and dramatic shadow not only beyond the work - the shadow cast -  but shadows and dark spaces within.

Marianne Krumbach

 

Kähler at CHART Design Fair August 2019

 

The Kåhler pottery was founded by Joachim Christian Hermann Kähler in 1839 and this exhibition at Den Frie - for the CHART Design Fair - is in part to mark their 180th anniversary. 

Initially, Kähler produced stoves and cooking pots and kitchenwares. Two sons - Hermann A Kähler and his younger brother Carl Frederik Kähler - took over the factory in 1872. After a fire in 1875, a new factory was established and the company began producing finer ceramics, particularly vases, and began working with ceramic artists including H Brendekilde, L A Ring and Carl Lund and later Karl Hansen Reistrup and then Svend Hammershøi who became the artistic director of the company. 

Kähler experimented with shapes, glazes - particularly a hallmark deep red lustre - and with decorative techniques of painting by hand.

The exhibition here showed a range of their pieces through the history of the factory that show how, as a commercial company, they had to respond to changes of fashion but also, by employing well-established and talented artists, they could also set certain styles. 

Plaster casts for slip-pouring moulded, rather than thrown, pieces and sample strips of glaze colours gave some insight into the technical aspects of the high-quality ceramics.

In 1974 the factory was sold to Næstved municipality and then passed through a number of owners including Holmegaard but since 2018 has been part of the Rosendahl Group.

Kåhler

Axel Salto Stentøjsmesteren / Axel Salto stoneware master

 

A major exhibition of the work of Axel Salto at Øregaard Museum in Hellerup - just up the coast to the north of the city.

Axel Salto (1889 - 1961) studied painting at the Royal Academy and graduated in 1914.

In 1916 he lived in Paris where he met Picasso and Henri Matisse and on returning to Denmark he produced, edited and wrote for a short-lived but influential journal Klingen / The Blade that was published between 1917 and 1919.

He was a member of the Grønningen group of artists and one of The Four with Svend Johansen, Vilhelm Lundstrom and Karl Larsen who exhibited together between 1920 and 1929.

In the 1920s he began to design ceramics and his stoneware pieces were produced in the workshops of Carl Haller - Saxbo keramik in Frederiksberg and he also produced designs for porcelain by Bing & Grondahl with his work shown at the Paris exhibition in 1925.

The exhibition shows a full range of his ceramic works from small stoneware bowls with incised decoration or bold moulding with Japanese style glazes to large scale works with scenes from Classical mythology or stylised nature.

Paintings and strong and very confident ink and linework drawings including designs for the ceramics show clearly the style Salto developed with his training as a painter.

He also worked with the book binder August Sandgren and a selection of designs for end papers are shown in an upper gallery which have a distinct feel of the 1930s with deep colours and stylised and small repeat patterns.

 

the exhibition continues at Øregaard Museum until 23 June 2019