8th- 31st July, 2014

In recent decades artists have re-embraced tradition as a basis for both critical commentary and creative intervention. The inheritance and re-interpretation of ceramic traditions is an underlying theme to many contemporary artists, some using traditional techniques of firing, materials and glazes or classic form to create modern sculptural works.

These invited artists are taking the lessons from old traditions and shaping their work for the future. Meet and work alongside emerging and established ceramic artists and find out what influences their work and where ceramic traditions are taken in new and surprising directions.

This symposium is organised by the Foundation for Contemporary Ceramics in conjunction with the International Ceramics Studio, to co-incide with the 4th International Triannial of Silicate Arts.

Invited artists include:

(United States of America)

"If I had to make one person responsible for the fact that I became a ceramic artist, it would be Hungarian artist Margit Kovacs. Since I was twelve years old I have been worshiping her as a ceramicist. My reinterpretation of this tradition combines both narrative and form - synthesizing pots with fairytales in a way that tests the boundaries of each. The result is often an uncanny union - one that evokes all manner of stories about dolls, puppets and statues coming to life. It is a union at once wonderful, elegant and fanciful but also at times uncomfortable and awkward.

The central idea for my newest artwork is to transgress the boundaries of folk art and fine art by means of the following method: appropriate historically significant folk art and theatrical genres - such as the characters from the commedia dell’arte; and interpret them through visual idioms of contemporary sculpture. My work appropriates historical narrative subjects deriving from fables, myths and interprets them in forms that have visual and conceptual affinities with contemporary fine art - affinities that allow me to further explore and question the boundaries between pop art, kitsch and high art."

“Born and raised into a socialist East German society, which transformed in front of my eyes into capitalist West Germany mesmerized my senses of reality. East Germany got flooded with consumerism, lies and illusion. Truth can be discovered in folds and layers. I create layers of dialogue by constructing nostalgic visions from recycled patterns and ideas and present them to the audience in theatrical dioramas; child hood like dreams for the grown up. Each piece is a slice of life freeze framed and manifested. The captured scenes direct the viewer to imagine the frame in its animated whole. There the truth can be discovered.”

Visit Gerit Grimm's webpage here -


"I usually work on solid blocks of plaster and found plaster moulds which I modify by sawing, smashing and breaking them into pieces. Then, after they are reassembled, I cast the void inside, sometimes adding bits and pieces cast from other moulds and manipulating the cast itself. The process of breaking up and reassembling the broken pieces allows me to define the object again, deprives it of its earlier designed character and gives it a new, different meaning."

"More than half of every year I spend working in the places and workshops other than my own. I have been already casting in tableware factories where the slip runs from the tap 24 hours a day as well as places not suitable for casting at all. In each case the working pattern is similar, but in each of the places, the unique conditions and situation that are offered influence my works and leave a strong impact on them. The resultant works always incorporate in-house designs and are very closely linked to the places they are made in."

Monika was born in 1973 in Warsaw, and lives and works in Warsaw, Poland and in Cardiff, Wales. She received her M.A. at Wroclaw Academy of Fine Arts, Poland, in Ceramics Design. She was a Designer at Stoneware Tableware Factory, Pruszków, Poland, was President of the International Ceramics Symposium "Porcelain Another Way," and is a member of the International Academy of Ceramics.

Visit Monika's website:

(Great Britain)

Few great minds have the gift of turning everything they are confronted with into elements of their own imagination, into elements of their own vocabulary. It requires a certain capacity for absorbing, accumulating and finally processing the accumulated knowledge. Even though all artists, by definition, are explorers, that inner mind's imperative of constant broadening, the life-long investigation completed by insight and unrestrained imagination, describes just a few of them. It definitely describes Michael Flynn.

Flynn studies existing links and relations, disrupts bonds between notions, reconnecting them anew in his own way to create associations in his own order. From collected gestures, characters, anecdotes and true stories he composes both, his own, imaginary tales and the beautifully disquieting, lively hand built figures that he is so well known for. His sketchbooks, like his mind, are full of the little creatures of all kinds that tend to populate and crowd there exactly as they do in his ceramic pieces. They are breeding in his mind in a continued, unceasing process, fertilized by constant researching, constant reading, thinking, absorbing, merging fictions and non-fictions, creating, making.

Flynn's vision and interests, recorded in each piece, are beautifully eclectic. His thoughts cross as equally smoothly amongst cultures, centuries and belief systems as he, constantly traveling, passes amongst the studios that he works in, amongst techniques and materials that are available there and conditions that they offer. He has been working in studios and residency centers in most of the European countries from Finland and Norway, through Poland, Germany, Netherlands, Belgium, Denmark, Hungary, Austria, Czech Republic to Cyprus and Israel as well as Canada, USA and Australia. The pieces may be modeled hollow or solid, may be made of porcelain, stoneware or earthenware, fired in gas or electric kiln, raku fired or even wood-fired.... However they are always distinctly his own.

Michael Flynn’s new work, as always, reveals the artist moving on into new terrain, in an intellectual and artistic exploration of consummate energy and courage. At the same time, it shows him also to be an artist who rarely rejects or forgets anything, but who has generated a powerful sense of continuity in his oeuvre over the decades. His work is about his own memories; about the memories of place, about history, about the history of art, and about the history of human foibles.

Visit Michael Flynn's website:

More invited artists to be confirmed. . . .

The cost of attending this symposium is 210,000 HUF - which includes accommodation for the duration of the hree week symposium in a single room with shared bathroom (self catering), and use of studios and equipment. It does not include costs of materials and firings, which are charged depending on how much you use. Prices are on our website.

Participants should bring with them their small personal hand tools. Remember to pack them in your stowed luggage not in hand luggage for flying.

for information and application form please email:
Steve Mattison, International Ceramics Studio


Kormos Emese, Nemzetközi Kerámia Stúdió

Nemzetközi Kerámia Stúdió - International Ceramics Studio
Kápolna u.11. Kecskemét 6000, Hungary