In this page you can discover the finalist for the Handicraft discipline in the all european areas.
One winner of each discipline will partecipate to the Biennial MArteLive.
Born 1996. Lives and creates in Vilnius.
2018-2020 BA and MA of Graphic Art, Vilnius Academy of Arts.
Actively participating in various art projects. The latest exhibition I’ve participated was „Intuitions and Doubts“ (Vilnius, Lithuania) were my works were shown next to the well-established Lithuanian artists. Meanwhile I am getting ready for the third solo exhibition in 2021.
„The boundary between intimate coziness and discomfort is revealed in Diana Remeikytė’s work. “Make yourself at home,” Diana says encouragingly, talking about her series of work Home. In her work, Diana researches the sense and significance of home, relating it to her own experiences. Eventually, home often becomes a repository of a personal memory that cannot be always relayed upon“. Art critic Viltė Visockaitė
The series of works Home was created by using water color technique, which was the most used technique while studying. Recently, for the first time in my oeuvre, I’ve started to explore other art techniques and crafts. The idea to combine my beloved water colour with the carpet making became key of my further art researches. By transferring my artworks from paper on to the huge format fabrics I use tufting technique to create handmade carpets.
I was born in Vallauris and grew up surrounded by artists, potters and ceramists, but it was in Paris that I really discovered clay, its work and its art. This fortuitous encounter marked a new and unexpected beginning. After a few internships and masterclasses in Montreuil and Vallauris, I decided to take the time to train myself in parallel to my career in a large French Foundation.
Coming from a classical literary background, I worked for three years in the world of charity and fundraising.
Within various associations and foundations I could commit myself to causes that are dear to me, but missed the artistic practices that I grew up with. In search of a means of expression I explored a variety of new artistic
forms and crafts: from painting, to watercolor and charcoal drawing, to weaving and wood carving… Until my reunion with ceramics.
I call myself both a craftsman and an artist. My artwork and my tableware are part of a single work that revolves around my research into the very definition of functionality and utilitarianism.
With my tableware production, I wish to bring art and ceramics into the home.
My collection of utilitarian stoneware and high temperature glaze ceramics focuses on tea and the art of the table in everyday life. These limited series, made on the potter’s wheel and hand-engraved, consist of a variety of mugs, teapots, bowls and plates. The engraving work allows each piece of tableware to be transformed into a sensory object.
Created in parallel with these functional pieces, my contemporary vessels allow me to explore forms and challenge the limits of functionality.
I am inspired by ancient pieces and the history of utilitarian ceramics such as amphorae, olpes and ancient pithos, whose common function is one with their aesthetic and artistic vocation. Inspired by these ancient influences, I play with shapes. By transforming these classical forms, vases and handles, I make them into pieces in their own right rather than vessels.
In 2021, after two years of experimentation and research between my studios of Vallauris, France and Vienna, Austria, I launched my first collection, Bleu Outremer and participated in my first exhibitions and markets. Teatime 2022 is my second collection.
This Summer 2022 my works are part of the Biennale of potters of Vallauris.
Croydon, United Kingdom
NonSuch Art (Kristina Sinclair) is based in Croydon and has been making work in numerous disciplines since graduating in 2009. Now with a specialised focus exploring the duality of precise and labour intense carving of lino to the unpredictable fluidity of stitch and ink. The works explores the representation of the feminine body. Each starting in a classic life drawing class where the body is an artists’ tool. Form, shape, line, tone and texture. How a pose can be acceptable, artistic and demure or explicit and needing censorship simple due to the position of the body. The lino is carefully and painstakingly carved. It is permanent and strong. It does not shy or fade. The inks are vivid, unpredictable and changeable. One of a kind.