Lower East

it’s all about clay

Text extract from the ECC website:

European Ceramic Context 2018 forms part of a biennial symposium for European contemporary glass and ceramics on the island of Bornholm in Denmark,

Through comprehensive exhibitions, workshops, master classes and lectures, an opportunity will arise to discuss and present the best of contemporary European ceramics today. This event is motivated by a desire to promote the disciplines and trades of glass and ceramic art at European and global levels. Through this event we aim to show a changing biannual overview of contemporary European glass and ceramics.

All 28 members of the European Union as well as Iceland, Norway and Switzerland are invited to participate. European Ceramic Context was presented for the first time in 2006 and it is now the seventh time we will hold this event.

Bornholm Biennials for contemporary European glass and ceramics are jointly organized by Bornholm Art Museum, The Royal Danish Academy, School of Design Bornholm and Grønbechs Gård.”



ECC 2018 catalogue front cover. Artwork by Heidi Hentze
ECC 2018 catalogue spread. Hammershus, Bornholm. Photo by Anders Beier
ECC 2018 catalogue spread. Artwork by Rose Eken and Ursula Munch-Petersen
ECC 2018 catalogue spread. Artwork by Isobel Egan and Kate O'Kelly
ECC 2018 catalogue spread. Artwork by Maude Schneider and Paul March
ECC 2018 catalogue spread. Ccracks in the wild clay deposits at the abandoned Hasle tile factory on Bornholm photographed by Susanne Jøker Johnsen.
ECC 2018 catalogue spread. Artwork by Laura Pehkonen and Topias Elg
ECC 2018 catalogue spread. Artwork by Jennifer Forsberg and Angela Burkhardt-Guallini

The ECC2018 Prizes and Jury

Two prizes of € 10,000 € and € 5,000 was given to two outstanding artists, selected among the participants in the two exhibitions.

The 2ndprize of 5000 Euros was awarded to Sam Bakewell from United Kingdom for “Of Beauty Reminiscing”.

Jury’s motivation:
Immediately striking is the extreme precision of the crafting and controlled tonal quality of the two elements that push the material towards technical perfection. The miniature scale of the “amulet” triggers intensity of looking and curiosity in the viewer to imaginatively contemplate its mysterious interior.

The transcendental resonance of this talismanic form is further heightened by its placement on a square base, a platonic ideal form, the surface of which is so delicately muted and smooth. The combination of elements functions as a miniaturized cosmic model.

The contemplation of transcendental values that Sam Bakewell’s works allows and encourages is also to be observed in the 1stprize recipient.

The 1stprize of 10.000 Euros was awarded to Erna Skuladottir for her work “Still Waters”.

Jury’s motivation:
Erna looks at material in its most basic state, drawing on local clays, and through that, acknowledging the specificity of raw clays and terrains in different parts of the world.

The sense of her process is immediately evident in a piece that has been crafted and installed in situ, for the duration of the exhibition. She communicates a very direct handling of the material, and through a process of controlled selection, she has built up a composition on multiple sheets that creates an almost aerial perspective on processes of change within the larger landscape.

Close up one becomes aware of the long term processes of sedimentation and the wear of rock into clay and, simultaneously, the frailty and imminent collapse of the materials and the artwork itself; we are looking at different tempos of material transformation.

ECC 2018 catalogue page. Artwork by Sam Bakewell, winner of the 2nd prize of 5,000 Euros for his work “Of Beauty Reminiscing”.
ECC 2018 catalogue page. Artwork by Erna Elinbjörg Skuladottir, winner of the 1st prize of 10,000 Euros for her work “Still Water”
ECC 2018 catalogue spread. Artwork by Irina Razumovskaya – and old silos in Nexø Harbour photographed by Susanne Jøker Johnsen.
ECC 2018 catalogue spread. Bornholm. Photo by Anders Beier