20post'wares'20 - green trip to heavenandhell cup no.1

by Katrina Schneider Austria

240

1 in stock

Dimension LxWxH (cm): 11x11x7
Unique Pieces Material : Ceramics, glaze, glazed ceramic, Glazed stoneware
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Description

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 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.