Keramikkens mangfoldighed

Marianne Nielsen er kendt for sit fint modellerede keramiske arbejde, hvor hun oversætter naturens strukturer og former til en kulturgenstand i stor og lille skala. I midten af januar blev hun tildelt landets største pris målrettet keramikere. arkitektur / design, #1 2020 Læs hele artiklen fra arkitektur / design, #1 2020 (pdf-fil) →

The Logic of Sentiment

In “The Mediation of Ornament,” Oleg Grabar suggests that we consider the motifs and patterns of the decorative arts to be “intermediaries.” They may seem to serve merely as embellishment, but he likens them to “catalytic agents, or code carriers in genetics or biology.” If this is true, then Marianne Nielsen is engaged in some genre of cryptology. Her work invariably displays a savvy manipulation of coded vocabularies of form, and a talent for magnifying the slippage between a symbol and its traditional meaning. →

Between imitation and abstraction

There are ceramists whose primary reason for working with vases, jars and dishes is an excitement with the material itself and the many textural possibilities. And then there are ceramists whose reason is form, always subordinating colours and glazes to their ideas of form. There are those who just want something to decorate – and there are those who want to provide their surroundings with sensible objects for everyday use. →

Mellem imitation og abstraktion

Der er keramikere, hvis primære anledning til at beskæftige sig med vaser, krukker og fade er en begejstring for selve materialet og for de mange stoflige muligheder. Så er der dem, hvis anledning er formen, dem der til hver en tid vil underordne farver og glasurer deres formmæssige forestillinger. Der er dem, der bare vil have noget at dekorere på – og endelig dem, der vil servicere deres omverden med fornuftige brugsting. →