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.
Brand name KIKA TOMAŇA
School of applied arts of Josef Vydra, Bratislava, Slovakia
Fiber art department
Academy of Fine Arts and Design, Bratislava, Slovakia
Fiber art department
Erazmus – Kunsthochschule Burg Giebichenstein, Halle an der Saale, Germany
Fiber art department
Now i am creating textil art and paintings at Slovakia.
PARADOX WORLD is a contradictory world full of contrasts and absurdities, where there is no need to look for a meaning. Nonsense has taken a significant leadership position in society. A world, where beneficial things need extraordinary names to be noticed at all. Where natural evolution becomes unnatural, it does not become normal. The important thing becomes irrelevant, and the important thing probably doesn't matter anymore.
The author of the installation, with an empty throne, expresses her attitude towards strength, power and the world. The greatest power is power over oneself. Creating a juicy life is power! The chance to be kind is an opportunity. Nobility is a desire. The ability to use is a gift, great wealth, the ability to value is a pure treasure!
The tapestry is hand-woven on a TC2 two-warp digital jacquard loom. The abstract scene of the tapestry is created by digital deformation of my watercolor paintings. The subject of the tapestry carries ideas of freedom, power and enthusiasm.
Thanks to the medium used, these qualities are conceptually placed on a pedestal, and immortalized by a noble, laborious process firmly anchored in history.
Brand name M’ART
My name is Márta Bajka, my specialty is weaving. I make my own clothes, accessories and home textiles. I design my own pieces based on folk culture and folk art as a means to pass on the culture. I like to design my works so that they are contemporary, modern and wearable. My work is characterized by simplicity and elegance. I took weaving more seriously since 2015 and now I consider it my profession. I studied folk craft linen weaving at Nádudvar for two years at `Nádudvar Vocational High School of Folk Crafts and Dormitory`. I currently live and work in Budapest. My works have appeared in several exhibitions in The Kunsthalle, Institution of the Hungarian Academy of Arts (Műcsarnok), in The Hungarian Heritage House (Hagyományok Háza) and The Place of Merriment (Pesti Vígadó).
Learning from folk craft culture, I usually spin the yarn myself. I design my pieces based on culture and folk art as a means of transmitting culture. I like to design my pieces so that they are contemporary, modern and wearable. My work is characterised by simplicity and elegance. I make my own clothes, accessories and home textiles, mainly from cotton and wool. I design my pieces based on culture and folk art as a means of conveying culture. I like to design my work to be contemporary, modern and wearable. My work is characterised by simplicity and elegance. All materials are sustainable and of the highest quality to last.
Frankfurt am main, Germany
Gözde Ju Born in Adana/Turkey in 1992.
Following her graduation from a Fine Arts High School in 2009, Gözde Ju started studying in the Faculty of Fine Arts at Anadolu University. She graduated from the Printmaking and Painting departments (double major). In 2018, she obtained her master’s degree with the thesis on “Spatial Searches in Contemporary Printmaking Art”. Her master thesis focused on the evaluation of Printmaking in the context of space and contemporary art. Furthermore, she completed the course period of the Proficiency of Art Program (PhD).
The artist took part in various exhibitions in different countries. She continues to work at her studio in Frankfurt am Main,
“Home” Charcoal and Embroidery on Paper 42×30, 4 Pieces, 2021
“What does it mean, to live in a room? Is to live in a place to take possession of it? What does taking possession of a place mean? As from when does somewhere become truly yours? Is it when you’ve put your three pairs of socks to soak in a pink plastic bowl? Is it when you’ve heated up your spaghetti over a camping-gaz? Is it when you’ve used up all the non-matching hangers in the cupboard? Is it when you’ve drawing-pinned to the wall an old postcard showing Carpaccio’s ‘Dream of St Ursula’? Is it when you’ve experienced there the throes of anticipation, or the exaltations of passion, or the torments of a toothache? Is it when you’ve hung suitable curtains up on the windows, and put up the wallpaper, and sanded the parquet flooring?’’
– Georges Perec, Species of Spaces p.24
Paulina Gobiecka (born 13 November 1987 in Warsaw) – ceramic artist, ceramics instructor at the Garden of Arts ceramics studio, Warsaw, Poland. She graduated from the Faculty of Sculpture at the Academy of Fine Arts in Warsaw in 2015. She is currently building her own wood-fired kiln.
I present 3 different types of ceramic handicrafts I have made: ceramic lanterns, ceramic tiles inspired by some Nordic motifs and ceramic tiles inspired by Aboriginal art. They are completely different, but they have symmetry and geometry in common. In making my ceramics I enjoy playing with some mathematical influences and the influences of other cultures that I have experienced during my travels (Arabic, Scandinavian, Aboriginal).
Dimensions and technique:
– lantern 1 and 1.1.: 36 cm x 36 cm x 10 cm, fired in the electric kiln in the temperature 1260 C degrees
– lantern 2: 38 cm x 38 cm x 12 cm, fired in the electric kiln in the temperature 950 C degrees
– tiles (star 1-star 5): 20 cm x 20 cm x 0,5 cm, raku-fired ceramics in the temperature 1000 C degrees
– tiles Aboriginal 1-3: 20 cm x 20 cm x 0,5 cm, porcelain painted ceramics fired in the electric kiln in the temperature 1260 C degrees
My name is Ivana Tilešová and I’m a Slovakian artist. I have a master’s degree in the jewellery department of the Academy of Fine Arts and Design in Bratislava. But before that I did a Bachelor’s Degree in the department of Sculpture and Installation, so even when I create jewellery I try to create a complex work of art. I really like to work in a multimedia way and connect different artistic disciplines in a work of Art. My ideas and concepts are often human-centred. I am very interested in human emotions and personality. I like to use absurdity to convey my visions to the viewer.
My diploma work called IDENTITY contents of jewellery collection of 8 pieces installed on a custom construction and three short videos. For the jewellery I used sandblasted plastic foil, folded into intuitive geometric objects. On the surface are printed photos of my own body. They depict my tattoos, scars and birthmarks that I consider my forever jewellery. Objects are complemented with metal components made of brass that meet the functional side of the jewellery. The construction represents proportions of my own body and every piece is installed in the real height as on my body. Some of the jewellery pieces are decorated with floral embossing – I am scarring my objects with something I subconsciously consider beautiful – such as my body with floral tattoos. I am completing the installation with three videos in which I push the boundaries of the object and work directly with my body.
In her work, Regina Fischer questions the relationship between traditional ceramic production and processes in nature, as well as social and topical issues, blurring the boundaries between these areas and exploring the material and the many possibilities it offers with great dedication. In this way, he creates unique ceramic products for everyday use and unique works of art in his manufactory.
Sculpture Vase 2022
Cloning refers to the creation of one or more genetically similar individuals of living organisms.
The Clone series figuratively has the same genes, but the objects differ in external details such as reliefs or ornaments, making them an ever-growing family of products.
Stoneware, colored glaze & underglaze paint. Handbuilt and handpainted.
My name is Karolina Borowska. I was born on 6th April 2001 in Goleniów. I am currently a second-year student at the Fashion Design Department of the Academy of Art in Szczecin. I am a fashion designer who loves eclectic solutions and working with colour. I currently focus on my artistic and design development in the speciality of clothing and shoes.
I have participated twice in the past (in 2018 and 2019) in the Fash’n’act charity fashion show organised by Interact Szczecin International, during which Szczecin youth raised funds for the rehabilitation and treatment of our peers. The main goal of the campaign is to help and make the recipients aware that it is fashionable to help. In addition, thanks to participating in the event, I was able to develop my passions related to design. The project was created in cooperation with the Art Academy in Szczecin, together with the entire infrastructure and tailoring workshops. During the project I played the role of designer, but I also participated in the organisation of the event. The world of fashion has fascinated me since childhood. Without a doubt, the Fash’n’act project allowed me to further develop my passion for fashion and participating in the event made me realise that design is what I want to do professionally in the future.
Design and hand made by Karolina Borowska
Footwear project completed in the second year of study in the Footwear Design Studio at the Academy of Art in Szczecin.
Project inspired by the science fiction film ”The Fifth Element”. I designed a collection of 12 pairs of shoes. However, I did one pair.
The shoes that I finally decided to make, I wanted them to be effective, heavy shoes and sexy at the same time. For this reason, I would choose high uppers that reach 70 centimetres. Yasiloo boots are high boots on a 20 centimetre platform made of styrogum. Two-piece solid upper made of ecological leather. The effect of the openwork upper was made by hand using a punch. the heel is designed in Rhinoceros 3D and made by 3D printing method.
Model: Natalia Kukawka
Photographer: Kamil Winnicki
Make up Artist: Klaudia Sadoch
Ever since I was a child, I have enjoyed making handicrafts. I became more seriously involved in it in high school, where I had the opportunity to try my hand at various traditional crafts. My great-grandfather was a shoemaker, he lived and worked in the house where I live today with my family. I found many of his tools and still keep them today. Perhaps this insistence on my roots helped me make the decision to continue working with leather. After I made this decision, I started my studies at the folk craft school in Nádudvar. I tried my hand at various art competitions and participated in exhibitions. After finishing my studies in Nádudvar, I managed to set up a small workshop at home with the help of my family. I currently work on my small business. I like to go to craft fairs and share my creations with the world.
I tried myself at multiple art contests and participated in exhibitions. After I finished my studies at Nádudvar with the help of my family I was able to establish a small workshop at home. At the moment I work on my small business. I like to go to craft fairs and share my creations with the world.
usually I work with oxhide and somethimes I use goat, pig and sheep skin. I use up bones and antlers too for closures etc. For ornamentation I use overlay, underlay and embossing techniques.
I usually work with ox skin and sometimes with goat, pig and sheep skin. I also use bones and horns for fastenings, etc. For ornamentation I use overlay, underlay and embossing techniques.
“He who works with his hands is a worker. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist.” Quoting Saint Francis
I am a designer of fashion, footwear and accessories and I handmade my collection.
I have just graduated in Fashion Design.
At present I am student of graphic design and painting at the Academy of Fine Arts in Lodz.
In my collection, I deconstruct the existing gender constructs. I take the attributes “masculine men” have appropriated and combine them with feminine elements. As a result, my projects do not have a single gender. When we observe reality taking into account currently prevailing social norms, we experience dissonance. We see garments that seem to be feminine, but the used forms based on exaggerated musculature are definitely associated with masculinity. We find it difficult to categorize the view we observe. My goal is to show that we do not have to persistently conform to binary categories and that we should not be afraid of our individual gender expression. Gender identity should be an individual matter that only we can define and only when we feel that there is a need for that. To create my projects, I used natural and synthetic leather, fabrics with original prints, original knitted fabrics, wadding, epoxy resin.