| WERDEGANG |

Guy Van Leemput (1967, Herentals) studierte Mathematik und Keramik.
Im September 2016 und Juli 2014 wurde er als Artist in Residence am Sanbao
Ceramic Art Institute in Jingdezhen, China, eingeladen. Bei mehreren früheren
Gelegenheiten wurde seine Arbeit für Wettbewerbe und Gruppenausstellungen
ausgewählt. Sowohl im eigenen Land als auch im Ausland fi: ORIGINE 2017, Kunsthandarbeitsmesse München 2017, Baumkunstmuseum Peking 2016,
NASPA-Preis 2016, PULS 2015, ANDENNE 2015, COLLECT Saatchi-Galerie
London 2014, TASTE Genf 2014, MINO 2014, Design Shanghai 2013, Peking
Design Week 2013, TERRALHA 2013 (Frankreich), CERCO 2012 (Spanien),
MINO 2011 (Japan) ..

Bei MINO International Ceramics Competition 2014 wurde seine Arbeit

"Big Anas" mit dem Bronze Award ausgezeichnet und befindet sich heute in

der Sammlung des Museums für moderne Keramikkunst in Gifu, Japan.


| STATEMENT |

"From the search for peace comes an urge to create. Not based on thought,

but based on feeling. Feeling, work and more work. The heart dictates the

form, the head takes the decisions. Each result shows me who I am and better

knowledge allows for yet a deeper digging. Thus, each work becomes a quest.

I usually work in series, which sets limits but also offers growth. In the summer

of 2014 I was invited artist in residence in Jingdezhen (China) and since this

shocking event I have wanted to introduce colour in my work. For this series of

translucent bowls I found inspiration in ancient Italian fresco paintings, both

in colour as in technique. The same freshnesh in colour is achieved by using

stains for colouring the kaolin and using these coloured slabs to roll into the

walls of the bowl. Both inside and outside. The pattern on the inside is interfering

with the pattern on the outside, depending on the amount of light falling on

the pot. Thus the spectacle changes during the day and the seasons. Being a

mathematician was of big help designing a technique of firing very thin

translucent bowls: these pieces are fired upside down on a support in unfired

clay. Thus allowing the processes of gravity and melting to act out their parts

in order to extract the pot in the kiln. The high temperature of 1300 °C is needed

for strength and translucency. The woodfiring gives the bowl a beautiful white

with a sparkling ash-blossom."


Sehen Sie hier einen kleinen Film über Guy und seine Arbeitsweise: