Happy Christmas Clay 2012

24/11/12 > 22/12/12

  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Zsolt Jozsef Simon
    Zsolt Jozsef Simon
  • Aneta Regel Deleu
    Aneta Regel Deleu
  • Aneta Regel Deleu
    Aneta Regel Deleu
  • Aneta Regel Deleu
    Aneta Regel Deleu
  • Aneta Regel Deleu
    Aneta Regel Deleu
  • Aneta Regel Deleu
    Aneta Regel Deleu
  • Aneta Regel Deleu
    Aneta Regel Deleu
  • Aneta Regel Deleu
    Aneta Regel Deleu
  • Aneta Regel Deleu
    Aneta Regel Deleu
  • Hugo Meert
    Hugo Meert
  • Hugo Meert
    Hugo Meert
  • Hugo Meert
    Hugo Meert
  • Hugo Meert
    Hugo Meert
  • Hugo Meert
    Hugo Meert
  • Hugo Meert
    Hugo Meert
  • Hugo Meert
    Hugo Meert
  • Hugo Meert
    Hugo Meert
  • Malene Hartmann Rasmussen
    Malene Hartmann Rasmussen
  • Malene Hartmann Rasmussen
    Malene Hartmann Rasmussen
  • Malene Hartmann Rasmussen
    Malene Hartmann Rasmussen
  • Malene Hartmann Rasmussen
    Malene Hartmann Rasmussen
  • Malene Hartmann Rasmussen
    Malene Hartmann Rasmussen
  • Malene Hartmann Rasmussen
    Malene Hartmann Rasmussen
  • Happy Christmas Clay 2012
    Happy Christmas Clay 2012

Aneta Regel (Poland)

“I create objects that exist neither in the natural nor in the manufactured world. But once brought into being, it is my intent that they can reflect and transmit information and feelings about nature—and indeed, my own as well as the viewer’s own existence. Forms of nature and natural materials fascinate me. My aim is to juxtapose the natural and the human in order to create a dynamic friction. I want to put life into form, arrest motion, capture energy and rhythm. My objective is notsimply a shape, but a feeling, a smell, energy, or an emotion. My new group of pieces, Raining Stones, seeks to explore relation between the inside and outside of form. I wish to convey a sense of intimacy and illusion in the passage from one state into another.”

Hugo Meert (Belgium)

Why do people hang crucifixes and other signs on their walls? I guess I am simply questioning the nature of religion. I love to work with the illusive nature of symbols. They can be an artwork, design, or simply a purely decorative object. Or nothing more than trash. The B.C. Hammer crucifix (a dying man nailed on a cross) and the Muslim crescent Nine Elevel (not Nine Eleven!) have the potential to make us reflect on our lives in an era when past values no longer seem relevant. The Tripes sculptures are a kind of black and gold sausage, sometimes with a swollen erotic aspect. Ceramists often speak of the erotic feeling of working with clay.

Malene Hartmann Rasmussen (Denmark)

“I try to create a place beyond reality; a deceitful echo of the real world, that bends the perception of what is real. I want my work to look like a very skilled child could have made it. Clumsy and elaborate at the same time. Initially the viewer may—mistakenly—be drawn to my figures thinking them to be toys; However, closer examination reveals their rather darker narrative. They invite you to an absurd and surreal world where things are not as they seem. A frozen moment in a story and mood yet open for the viewer to filter their own references through and contribute to the story. My aim is to create a visual poetry.

József Simon Zsolt (Hungary)

Life needs movement, finding balance between polarities; lightness and darkness, Earth and sky, spirit and life. But spirit needs forms; In these art pieces I am trying to capture the experience of ease and light, forming before being immersed into material. Pure force. struggle and the fight with gravity. Grabbing the surroundings and bringing the patterns inside. Never to stop. Only silence inside. Like stars which hide behind their light. There is a secret in these forms which keeps the sharp and smooth together, silence and noise, the straight and the curved. The secret is in the cohesion of what a human does. I want people can see the starlight in the petals.