LO and BEHOLD #3 (3/7)

by Signe Fensholt Denmark

1.100 Incl.25% VAT

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Estimated production time: 4 weeks

Dimension LxWxH (cm): 40x30x23
Unique Pieces Material : Porcelain
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Description

LO and BEHOLD is a series of seven unique ceramic tableaus in porcelain.

A tableau is a snapshot that holds the entire narrative. The ceramic tableau tells the story of how it became. In that way, it is a stage for a performance that has taken place in the kiln. The result balances between careful calculation and a loss of control. The dynamic shaping is stopped when the heat is switched off, leaving an imprint of the processes that we are intimately defined by – growth, decay, gravity, attraction, and adaption.

LO and BEHOLD are mind images of the horror of losing control, but also the relief that comes with losing grip and letting go.

Additional information

Weight 8 kg
Dimensions 50 × 50 × 40 cm
Dimensions LxWxH (cm)

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About the designer


Signe Fensholt

Signe Fensholt is a Copenhagen based ceramic artist. In her work she leaves part of the creative process to the magic of the ceramic materials and the natural forces in the ceramic kiln. Like a choreographer she sets the stage, give her instructions and let go. The transformation of soil and dust into sparkling surfaces and crisp shapes is still visible as traces of creation. The performative aspect of ceramic materials is a focal point in the way she works as well as in the final results. She works in the interface between design and art keeping a reference to a shape or a function that we easily recognize but with another agenda than finding a solution for a practical need. She graduated 2018 from The Royal Danish Academy of Design. Since her graduation she has been selected for major exhibitions and has received several grants for her artistic practice.

Curated by

The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.