Latest news with #ceramicart
CNA
6 days ago
- Entertainment
- CNA
CNA938 Rewind - Common Touch – The Story of Ceramists Zestro & Fyon
In 'Made in SG' Melanie Oliveiro speaks to the founders of pottery studio Common Touch: ceramic artists Fyon Cheong and Zestro Leow. They'll talk about how their studio came about and why they plan to grow Common Touch as a community hub using clay as a powerful connector that fosters shared human experiences. Leow and Cheong will also talk about how they work with people from all walks of life as well as corporate clients. They'll also describe the Common Touch Craft Festival, featuring more than 300 booths showcasing everything from handcrafted ceramics to digital illustrations.
BBC News
07-07-2025
- Entertainment
- BBC News
Ballyhalbert: The harbour mosaics bringing a village together
When Martin McClure was asked to work on a project to brighten up the pier in a County Down village, he could never have envisaged how much interest it would artist oversaw a council-commissioned artwork for Ballyhalbert harbour, to celebrate the heritage and history of the area and its involved painting ceramic pebbles to form intricate mosaics along the village's pier, depicting a variety of topics including the area's connection to the Royal Air Force (RAF), its nautical past, nature and local living along the Ards Peninsula were so enthused by the harbour project that, at times, it was standing room only in the workshops. "It's the first time I've done workshops like that where people were queued to come in and actually paint," Mr McClure laughed. "So it was a lot of people."Among the youngest was Phoebe, 11, from Victoria Primary School in Ballyhalbert, who along with her primary seven classmates painted their pebbles in vivid colours."Martin first showed us pictures of different fish that we could draw and we got to pick our own," she said."We then practiced drawing them on paper. When we were happy with our drawing we transferred this onto clay, which we then painted with acrylic paints before it was glazed and fired." The ceramic art project, alongside other upgrades to the area, were funded by the UK Shared Prosperity Fund in collaboration with Ards and North Down Borough Council, costing £130,000 in Irvine, the council's tourism manager, oversaw the project."The brief we had given was that the mosaics should obviously tell as much of the story of the local area as possible, and I think they've encapsulated that well," said Mr project really took off after Ballyhalbert and District Community Association posted about it on social media. Local swimmer Lucy Carlile, who is part of that association, said the interest just spiralled with at least 50 people involved."The first session we maybe had eight to 10 people. For the last session there was literally standing room only," she said."You got to paint whatever you liked. Martin gave us some idea of themes and you based that around the larger pieces in the centre."A lot of the swimmers came to get involved as well. And as you can see on the pebbles, there's quite a few swimmers depicted."We had one lady who had just moved into the village five days beforehand."We've gained new members of the association, people have made new friends. It's really helped the village." How were the Ballyhalbert mosaics made? The mosaics consist of ceramic tiles surrounded by pebbles. But the pebbles were not collected on the beach, rather fabricated from hundred were taken to the workshops to be decorated."The original concept was to create a series of panels which would be a regular pebble shape but then the border would be cast ceramic pebbles," said Martin McClure."It was up to the residents what they actually put on to the pebbles but we encouraged them to think: What did Ballyhalbert mean to them?"We had everything… marine life, different fish, birds, local landmarks, houses, Burr Point itself and a lot of things that were personal to them like a bunch of flowers. Someone actually did the Spar logo as well because it's a local shop in the village."One of the panels was dedicated more to the history of the RAF in the village during the war. So there was a series of poppies as well." After being painted, the pebbles were glazed and then installed on the pier creating a weatherproof and lasting tribute to the area."They [the residents] are very creative," said Mr McClure."There's one guy in particular came to every workshop, [had] no artistic background, he took so much care and precision with each one."And they're lovely, they're really accomplished pieces, but I think the good thing is even if they're good or bad they kind of blend all in together. They work well as a complete piece."From political representatives in the area, to dog walkers, the mosaics have proved very Irvine agrees: "It definitely brightens up this part of the world, it has become a bit of a talking point and thankfully it's all been positive."Phoebe is also very proud of what she and her friends have helped create."The art makes the pier look really nice and colourful. It's really good that the art is near where we live and we are able to go down as a school and with our families to see it."
Japan Times
14-05-2025
- Entertainment
- Japan Times
Emerging Asian artists converge at the 'world's most beautiful museum'
The opaque door of the exhibition room slides open, silently revealing a ceramic goddess rising out of a reflective plinth. At her forehead, a lotus blossom, and below, the semblance of a hand grasping a flower as it curves upward. This figure, 'The One Who Perceives the Sounds of the World Nuwa x Naga Maedaw, Shigaraki' by artist Soe Yu Nwe from Myanmar, is pottery with a purpose. It joins works from eight other Asian artists for 'Ambient, Environment, Circumstances — The Typography of Contemporary Art —,' the first contemporary art exhibition at Simose Art Museum in Otake, Hiroshima Prefecture. In December 2024, the Shigeru Ban-designed museum attracted global attention when it was named the 'world's most beautiful museum' at the Prix Versailles by UNESCO. The current exhibition, which runs through July 21, celebrates the honor. Located near the calm waters of the Seto Inland Sea, Otake is known for its ample sunlight, with solar panels mounted on numerous rooftops across the city, including the museum, which opened in 2023. Apart from sunlight, a friendly taxi driver jokes, 'it's known for its toilet roll production ... and not much else!' The Shigeru Ban-designed museum was named the 'World's Most Beautiful Museum' at the Prix Versailles by UNESCO last year. | © SIMOSE Ban and his team took inspiration from the Seto Islands in designing the eight exhibition halls that sit atop shallow water like color-blocked cargo containers. Each is moveable, able to align with the narrative of what's being shown. The current contemporary exhibition marks a departure from previous shows, presenting works from a number of emerging artists, all under 50 years old. Four of the nine artists are exhibiting in Japan for the first time, and Daichi Kukita — born in 2000 — is the youngest person to exhibit at Simose so far. A graduate of Musashino Art University, Kukita views classical painting through a 21st-century lens. His canvas art seems somewhat at odds with the three-dimensional installations seen in the rest of the exhibition, resulting in a somewhat visual incongruence. 'I am sure that my style (of 'glitching' a traditional painting style) would inevitably appear at some point, it just so happens that I was the one selected,' he says. 'I'm immensely grateful to the countless collaborators I've met along the way.' Collaboration is a key theme in the exhibition, one that participating artist Kaori Ando made great use of. She is exhibiting vases made from clay sourced from areas of Japan with a rich history of ceramics, such as Arita in Saga Prefecture and Hiroshima. Her small vases in neutral tones are displayed along the ledges of the museum walls and atop a large raft of bamboo. Soe Yu Nwe's ceramic sculpture 'The One Who Perceives the Sounds of the World Nuwa x Naga Maedaw, Shigaraki' features Naga Maedaw, a Burmese dragon queen from folklore. | Kenichi Asano 'The bamboo reminded me of how Toyotomi Hideyoshi (a warlord who was influential in bringing ceramics to Japan) built a tea hut made solely of blue bamboo rather than gold,' Ando says, explaining why she chose the resilient plant over other materials. 'I layered these ideas with the image of drifting across the sea on a raft.' Due to restrictions regarding organic matter being brought into the museum, the bamboo had to be sealed, which is done through a process that involves burning the poles. That meant Ando needed all hands on deck to help ready the bamboo for opening day. 'With the support of the curators and collaborators, the piece came alive,' she says. Museum press officer Hina Kawaguchi assisted Ando prep the bamboo in the days leading up to the exhibition. 'It was a really fun, collaborative experience,' she says, adding that hosting exhibitions by living artists has an upside. 'We can hear exactly what the artist's thinking is behind a piece. This allows room for change and development.' Walking through the halls, it's striking how each artist draws inspiration from Japan, yet retains some of the aesthetics of their home country. For example, Indonesian artist Muhamad Gerly's colorful scrolls are constructed from paper from Otake, and elsewhere, Kyoto-based artist Madara Manji's sculptures reinterpret the mokume-gane metalworking technique used to create katana swords. Meanwhile, Osaka-born ceramicist Kim Riyoo is the only artist who uses sound: Dramatic soundscapes accompany his Jomon-inspired, dark ceramic pieces. Madara Manji's sculptures are among the pieces from emerging artists showcased in Simose Art Museum's first contemporary art exhibition. | Kenichi Asano It is Soe Yu Nwe's ceramic figures, however, that stand out the most. Simply entering the room where her work is displayed makes for a dramatic introduction. To come face to face with one of her resplendent effigies is enough to draw a gasp of awe. Soe Yu Nwe mixes deities such as Nuwa, Kannon and Mya Nan Nwe to reference her changing identity when navigating through various cultures. The main piece is hybridized with Naga Maedaw, a Burmese dragon queen from folklore, who has become an urban myth in Myanmar in recent years and is said to be one of the deities that are being handcuffed to stop exerting power over the town leaders. Other works are hybridized with the goddess Kannon, who is normally depicted as female. While visiting Sanjusangendo in Kyoto, however, the artist encountered a male version of the deity for the first time. 'In Myanmar and other parts of Asia and Southeast Asia, Kannon is known as Guanyin and is usually depicted as a beautiful and merciful-looking woman,' the artist says. 'It was my first time seeing male Guanyin depicted with many heads, almost looking monstrous and dominating. (I considered) the sex change in this deity within history and cultures. 'Another reason I created Kannon in this exhibition is because she or he is named 'the one who perceives the sound of the world.' There is so much suffering happening ... and I wonder if she can hear it.' Bringing together contemporary artists from around Asia in one of today's most talked-about museums creates the sense that something important — and exciting — is just beginning. 'Ambient, Environment, Circumstances — The Typography of Contemporary Art —' is on display through July 21 at Simose Art Museum in Otake, Hiroshima Prefecture. For more information, visit . Transportation for the article was provided by Bucchigiri Production.
