20post'wares'20 - blue riders on the green flood cup no.1

by Katrina Schneider Austria


1 in stock

Dimension LxWxH (cm): 9x12x7
Unique Pieces Material : Ceramics, glaze, glazed ceramic, Glazed stoneware
Buyers protection
  • Certificate of Authenticity A signed certificate from the maker is always included in the box.

  • Lowest price guaranteed Find a lower price from the seller, we'll match it.

  • Secure online transactions All personal information that you send to us is encrypted and cannot be viewed by others.

  • 100% insured global deliveries We arrange worldwide delivery, and every shipment no matter the price is fully insured against damages.

  • 14 days return policy In the rare event, you receive a piece that you are not fully satisfied with, you can return it within 14 days of receipt for a full refund except return shipping costs. Made-to-order items are not eligible for return.

Questions? Ask the maker.
Request customation Make an offer Chat with the maker




Post apocalypse: the abandoned factories – liberated from the monotony of mass production – develop a spirit and, thus, herald a new era of the possible and the impossible. Coffee, the epitome of earlier meritocracies, in which a farce of cosiness was layed on forced activation, now flows only within the mechanical, transformed body. To liquid as a solid shell, as a perfect symbiosis of entrance and exit, as mutual penetration within closed walls, the postwares are producing. The coffee house, once the activation site of the most modern automats, autonomises from its shards and becomes, in the body of a smoky factory building, a post-apocalyptic coffee house.

Wheel thrown, manipulated, multi-glazed, and multi-fired stoneware cup.


Adorno Editorial Newsletter

Stay up to date on the world of contemporary collectible design through opinion leaders and key players from the global design scene.

We only send newsletters once a week and care about your data as outlined in our privacy policy.

Additional information

Weight (kg)
Production Year


, , ,



, ,

Design Class

Number Of Pieces Created
Dimensions LxWxH (cm)

About the designer

Katrina Schneider

katrina, a ceramic artist born in germany, studying object sculpture at the academy of fine arts in vienna, austria. focused on experimental and radical thinking in ceramics and glazes. - When I met clay, I didn\'t think in absolute categories. there are so many cruel and mad materials and substances the world provides us with its peculiarities. But as I formed an intense connection with clay, clay is my heart. Allying with the ground under ones feet is very reliable against fear of loss. Earth was and is always there. Though, clay can bring an explosion of the incomprehensible or completely destroy itself and me, or both combined. That scope makes it so magical and mystical, the unplannable. What many would immediately deny in relation to ceramics is the term \'dirt\'. I like it for that very reason. Clay is mud and dirt. The earth is dirty. It\'s dirty work and, if you\'re lucky, it stays under your fingernails. Often I like the throbbing objects, while the mud is still dripping and the drying surface is slowly cracking, more than the \'finished\'. The fact, that at some point perhaps aliens, that will have arrived or creatures, that will have risen from the ground, (or whatever), will wonder, what instances that must have been, excuses the path through the \'crematorium\'. And, of course, the path itself. Though the view into the inner, like many things for us, remains mostly hidden.-

Curated by

Presenting “PROXIMITY”, a collection created in collaboration with Southern Sweden Design Days showcasing a selection of new work from ten designers and studios. As a whole, the collection contemplates the notion of proximity, interconnection, and belonging. Whether through contemporary references to traditional crafts techniques; the use of locally sourced materials such as wool, lichen, steel, and wood; or playful visualisations of the notion itself, the selected pieces illustrate the importance of closeness, interconnection, and kinship in uncertain times. Featuring pieces by Andrea Santivanez, Andréason & Leibel, Ebba Lindgren, Förstberg Ling, Jóna Berglind Stefánsdóttir, Lab La Bla, Lisa Darland, Louise Hederström, Moa Lönn, and Studio M. Organised by Form/Design Center in Malmö, Sweden, Southern Sweden Design Days is an annual event currently in its second edition, which highlights sustainability, collaboration, development, and innovation in design. This year’s theme, as described by the event organisers, “[reflects] on the notion of being close – the connection between people, cities, countries, species, professions, etc”. The physical exhibition of “PROXIMITY” will take place at Lokstallarna, Södra Bulltoftavägen 51, 212 22 Malmö from 19 - 22 May 2022.