International Ceramic Design Symposium
L I G H T . O B J E C T S
14 - September to 6 October, 2015

This symposium is organised by
the Foundation for Contemporary Ceramics
in conjunction with the International Ceramics Studio


In the work of Belgian ceramic artist Ann Van Hoey, everything seems to originate from a flawless order and geometric logic. Even the origami-like incisions that interrupt the pure form of the circle or of the hemisphere express the will to reach perfection and contribute to a new purity, that of creation.

With deceptive ease, Ann Van Hoey succeeds in bringing about a new order and a new logic that are her own, the order and logic of a clear and pure line that seems almost compass-drawn, aiming for a technically impeccable result and an aesthetic that is as simple as it is seductive.

The simplicity and clarity of Ann Van Hoey’s work—both in process and in the finished, seemingly weightless forms—are the equivalent to a whisper with the authority of a shout. The incisions and folded walls create unexpected but precise shapes that are quiet and unassuming while maintaining a sense of energy and movement. Their bold, saturated colors are the perfect compliment to a delicate structure.

Ann Van Hoey website ›

Korea / Finland

Suku Park, inspired by the grandeur of nature in Scandinavia for almost 30 years, has presented works familiar to everyone and comfortable in their resemblance to the sky and the lake. Green trees, soils soaked with warm lights, dazzling sunlight shining upon the earth capped with snow, and the deep-blue heavens gleamed so wonderfully upon the crystalline lake - Park's work seems to encapsulate this natural scenery variously turning with time and by the weather.

Park's wares look like containing water waves in freely flowing lines, resembling the contours of a map and the pellucid, placidly undulating lake.

Park leant nature first before leaning ceramics in Scandinavia. Park mainly applied a wide variety of pastel shades to his early pieces, but nowadays focuses primarily on exuding extremely rough, intensive color effects and on creating porcelains as white as snow. Park’s work, along with its practicality and sensual modeling quality, expresses considerable exhilaration often discovered in Korean beauty and appears based on the idea of pragmatism and humanism peculiar to Scandinavia. Suku Park always seeks to incorporate himself into his own pieces, endlessly posing questions on the meaning of his work.

Suku Park, born in 1947, graduated from Seoul National University with a BFA in applied art. After studying with a MFA at Konstfackskolan in Sweden (College of Arts, Crafts and Design) for two years from 1974, Park was active in Sweden. Employed in 1984 as the art director of Pentik, a living crafts manufacturer, Park moved to Finland and continued his activities there. He worked as a commissioner of the 1st World Ceramic Biennale 2001 Korea. After returning to Korea in 2002, Park has served as an artist and educator.

Park has so far presented his artworks to over fifty solo exhibits and a number of group shows held in Korea, Scandinavia, Japan and other European countries. Park’s pieces are now included in the collection of the Victoria & Albert Museum (London), the National Museum of Sweden (Stockholm), National Museum of Contemporary Art, Korea (Seoul), Czech Museum of Decorative Art(Prague) and Royal Ontario Museum of Art(Toronto).

Suku Park website ›


“Many of the functions traditionally performed by ceramics have become obsolete; some practitioners feel that their status as artists would be compromised by making objects that are physically functional, some feel that tableware (for example) can now be bought so cheaply that it would be pointless for a small-scale producer to attempt to compete. At the same time, we are aware of the beautiful, functional objects that have been made throughout history and still draw inspiration from them.

“I think we must remember that there are many different kinds of function. Nowadays, nobody buys an Alessi kettle just to boil water in; 200 years ago nobody bought a Meissen dinner service simply to eat their food from. The function of European porcelain was originally to proclaim the wealth and power of its owners – later perhaps more about transforming the presentation of food into an art form or a ritual. Objects function as communicators of ideas as much as some are tools for performing practical tasks. They can proclaim our status, our identity, our community – we can also sometimes wear them, decorate our homes with them or drink our coffee from them.

Craftsman, designer and teacher, Bill has been working full-time in ceramics since graduating from college in 1974 and until recently held the position of Glasgow School of Art’s head of ceramic design

Bill has specialised for a number of years in the techniques of casting and ceramic printmaking.


for information please email International contact:
Steve Mattison, International Contact

Strohner Márton, Magyar kapcsolat

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