![]({
"default": "https://ddw.ams3.cdn.digitaloceanspaces.com/thumbs/2_1757172882_1800x1010.jpg",
"tablet-wide": "https://ddw.ams3.cdn.digitaloceanspaces.com/thumbs/2_1757172882_1280x720.jpg",
"tablet-small": "https://ddw.ams3.cdn.digitaloceanspaces.com/thumbs/2_1757172882_968x544.jpg",
"phone-wide": "https://ddw.ams3.cdn.digitaloceanspaces.com/thumbs/2_1757172882_680x.jpg"
})
CeramicCROSSOVERS – In Pottery with… Guusje Beeftink places unexpected materials on the potter's wheel. The project explores their possibilities and limitations and invites reflection: What makes something art?, What is the value of craftsmanship? and How do we experience tradition and innovation?
CeramicCROSSOVERS | Pottery with...
Pottery with… shows the challenge between tradition and playful innovation, and the complex mix of technology, culture and meaning of materials.
Guusje Beeftink is researching alternative types of clay, such as brightly colored children's clay, polymer clay and air-drying varieties. What are they made of? What physical and technical properties do they have? And: Are they suitable for wheel-throwing – a technique usually reserved for traditional ceramics? The experiment exposes limits: some materials fail, others surprise. This raises a critical question: Can seemingly 'playful' materials find a place in the world of art and consumer goods, or do they remain limited to the realm of toys and hobbies?
Craftsmanship & Value
The project questions our perception of clay and crafts. For many, clay evokes memories of schoolwork or hobby activities, while ceramics have a centuries-old tradition of technical and artistic craftsmanship. With CeramicCROSSOVERS I investigate how pottery relates to contemporary values: the urge for fast, visible results and the question whether craftsmanship is 'serious’ enough to be recognized as an art or a profession.
Experiment & Dialogue
In addition to clay, other kneadable materials, such as kneadable gum, silicone and beeswax, are placed on the potter's wheel. What happens when a material that was never intended as an ‘art material’ suddenly becomes part of a traditional process? This unexpected meetings between technology and material invite visitors to reflect: What makes something valuable, functional or artistic? How do tradition, innovation and social perception determine our use of materials?
