20post’wares’20 – green trip to heavenandhell cup no.1

by Katrina Schneider Austria

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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.

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About Katrina Schneider Visit Showroom →

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.-
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