ICONOGRAPHY
4th - 22nd July, 2011
A three week international ceramic symposium for artists using classical or contemporary iconography in their work.

Participating artists include:

Jason Walker (USA)
The way in which we perceive nature inadvertently describes the way in which we perceive ourselves. I feel that technology has significantly changed and continues to mold our perception of nature. I feel we are pursuing our technological aspirations with a sort of blind admiration. Collectively, we see technology as only friend. Yet, technology is both friend and foe. Besides the obvious advantages technology may bring to our lives there lie unintended consequences and underlying messages behind every creation that forever change our perceptions, our social interactions and our relationship to nature and each other. It is in this grey area that I am trying to create a narrative to examine and ask questions. For this reason I have chosen to combine imagery of technology and ecology.

. . . .

magyar


György Kungl (Hungary)
I've recently been exploring the correlation between thought and its objectifcation in some form, between the idea and its verbal or written visual image. I'm interested in contrasting basic human values, moral axioms, norms of living, rules crystalised in text and wayward, rambling, boundless free thought. My works are petrified thoughts on the one hand, and media for meditation in which deep emotions and lofty ideas appear through animal figures, on the other.

. . . . .

Az utóbbi idõben az foglalkoztat, vajon milyen a kapcsolat a gondolat és annak valamilyen formában történõ tárgyiasulása, valamint az eszme és annak verbális, illetve írásképi megjelenése között. Foglalkoztat továbbá a szövegbe rögzült (kikristályosodott) emberi alapértékek, erkölcsi axiómák, életvezetési normák, szabályok és a csapongó, szertelen, korlátlanul szabad gondolat ütköztetése. Mûveim egyrészt kimerevített gondolatok, másrészt meditációs médiumok, melyeken a mélységes érzelmek és magasztos eszmék állatfigurákon jelennek meg.


Dalia Lauckaite-Jakimaviciene (Lithuania)
"My works are influenced by the history of art and architecture, kitsch and industry.

Art history is my real fascination, especially old Dutch painting with its love for detail, sometimes even obsessive precision. I pick up identifiable elements from art history and incorporate them into my works giving a new context, which is sometimes humorous and ironical. However, I use these elements with much love and attention. Architectural forms are very important in my work. Old Vilnius architecture is an important source of inspiration. The beautiful Vilnius Baroque church leads to a series of works with squares inspired by this old church. These works have a special personal meaning to me , since they depict a view that is very familiar and common to me, but on the other hand I inhabited it with some strange personages, thus making it surrealistic, dream-like.

. . . .

magyar


Rytas Jakimavicius (Lithuania)
Jakimavicius is a representative of the generation, the art outlook of which was formulated in the beginning of the nineties, when the tendencies of self-reflection were especially strengthened in the Lithuanian art.

So, it is not surprisingly, that Jakimavicius' creative energy is more focused on the implication of his individual world outlook rather than on the solving the functional and technological problems. The question of contradiction between "appliance" and "imitation", so important for the art society in the cross of seventies and eighties does not exist for Jakimavicius. The artist perceives these two polarised attitudes as absolutely comprehensible thing and organically adapts them in earthenware. There vanish in his works the boundaries and signs which earlier strictly distinguished between "high" and "low" art and did not allow to link the ideas of "pure" art with everyday needs.

. . . .

Jakimavicius annak a generációnak a képviselője, melynek művészi szemléletmódja a 90-es évek elején formálódott, amikor is a litván művészetben különösen megerősödtek az önreflexió tendenciái. Így nem meglepő, hogy Jakimavicius kreatív energiái is inkább egyéni világszemléletének kifejezésére összpontosultak, mint a funkcionális és technológiai problémák megoldására. Az “alkalmazás” és “utánzás” közötti ellentmondás kérdése, mely a művésztársadalomnak annyira fontos volt a 70-es, 90-es éveken át, Jakimavicius számára nem létezett. A művész ezt a két sarkos állásfoglalást egy teljesen érthető dologként érzékelte és szervesen adaptálta kőedénybe. Műveiben eltűnnek azok a határok és jelek, melyek korábban szigorúan megkülönböztették a “magas” és az “alacsony” művészetet és nem hagyták, hogy a “tiszta” művészet eszméi a mindennapi igényekhez kapcsolódjanak.


Fruzsina Pozsgai (Hungary)


We have comfortable ceramic studios and on site accommodation in single bedrooms (provided with bedding, pillows, blankets, towels etc.). The accommodation is self catering and we have large modern kitchens for preparing meals and lounges for socialising. Artists have full 24 hour access to their studios.

Cost of participating in the symposium is 210,000 HUF and includes, accommodation in single room, studio space,use of all equipment etc. Extra costs will be for the materials and firings you use.

Please email Steve at icshu@hotmail.com for details and costs.


További információ: Kormos Emese: icshu@t-online.hu

 


International Ceramics Studio
H-6000 Kecskemét, Kápolna u.11, Hungary
tel: +36 76 486 867
email: icshu@hotmail.com